Important Works from the NAB Art Collection by Leonard Joel

Important Works from the

NAB Art Collection AUCTION WEDNESDAY 23 FEBRUARY 2022, MELBOURNE

AUCTION CATALOGUE VOLUME 15 ISSUE 1 LJ8563

COVER (detail) 86 WILLIAM DELAFIELD COOK (1936–2015) A Hedge 1974 synthetic polymer paint on canvas 82.5 × 199.5cm $40,000 – 60,000

INSIDE COVER Historical images of the National Bank of Australasia

leonardjoel.com.au

iii

Lot 38 (detail) © Ray Crooke/Copyright Agency 2022 iv

Important Works from

the NAB Art Collection AUCTION WEDNESDAY 23 FEBRUARY 2022 AT 6PM, MELBOURNE

Please refer to our website for viewing times and location.

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CONTACT A SPECIALIST FOR THIS AUCTION

CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au

HEAD OF FINE ART Olivia Fuller 03 8825 5624 | olivia.fuller@leonardjoel.com.au

FINE ART SPECIALIST Lucy Foster 03 8825 5609 | lucy.foster@leonardjoel.com.au

ART SPECIALIST, MANAGER OF SPECIALITY AUCTIONS Hannah Ryan 03 8825 5666 | hannah.ryan@leonardjoel.com.au

PROJECT MANAGER Summer Masters 03 9826 4333 | nab.art@leonardjoel.com.au

CONSULTANT Sophie Ullin 03 9826 4333

DECORATIVE ARTS & FINE ART SPECIALIST, SYDNEY Madeleine Norton 02 9362 9045 | madeleine.norton@leonardjoel.com.au

SENIOR ADVISOR, SYDNEY Ronan Sulich 02 9362 9045 | ronan.sulich@leonardjoel.com.au

QUEENSLAND REPRESENTATIVE SPECIALIST Troy McKenzie 0412 997 080 | troy.mckenzie@leonardjoel.com.au

ADELAIDE REPRESENTATIVE SPECIALIST Anthony Hurl 0419 838 841 | anthony.hurl@leonardjoel.com.au

National Bank, Collins Street Melbourne, Vic. ca.1870-80 4

Important Works from The NAB Art Collection –

In the 1970s, more than half a century ago, the National Australia Bank committed to developing one of Australia’s most comprehensive and representative corporate art collections – one that would celebrate both the diversity and depth of a modern Australian artistic vision. Respected Melbourne gallerist Georges Mora was engaged as their art consultant, sourcing Australian paintings, sculpture and tapestries from some of our most renowned contemporary artists and galleries of the time, but with an eye also for newly emerging artists that were only just beginning to make names for themselves. The collection developed such a profile, that the National Gallery of Victoria organised an exhibition in 1982, dedicated to key works within the National Australia Bank collection. The Seventies: Australian Paintings and Tapestries from the Collection of the National Australia Bank was exhibited from October 15th – November 28th 1982, and 29 of the works from that very important public exhibition are featured in this auction catalogue. After more than 50 years of collecting, the National Australia Bank has decided that the time has come to reprioritise and they have decided to divest this impressive collection and reinvest the proceeds into the NAB Foundation – a foundation that will provide grants to communities for the purposes of management and recovery work associated with natural disasters. Leonard Joel is honoured to be presenting Important Works from the NAB Art Collection by public auction on February 23rd 2022. — John Albrecht | Chairman and Head of Important Collections

Lot 25 (detail opposite) 5

The NAB Foundation –

Since 2008, the NAB Foundation’s aim has been to be a catalyst for positive social and environmental change, supporting organisations around the country who are doing amazing things in our communities.

“We’re constantly driven to find new ways to help our customers and communities prosper. Proceeds from this sale will go back into the community, helping the NAB Foundation provide grants over coming years. At a time when Australia’s climate is changing, communities and the environment face increased risk from natural disasters, these funds will allow us to do even more to help. By redirecting these profits into the NAB Foundation, the funds will contribute to the Foundation’s grant programs to further safeguard local and regional communities and fund projects that will support our economic recovery and ensure Australia is more prepared for natural disasters and climate change. We hope this work will help the communities and customers we serve and make a real difference at a critical time for the nation’s economic recovery from COVID-19 and the extreme bushfire and weather events of 2020” (LES MATHESON, NAB GROUP CHIEF OPERATING OFFICER, 2021)

Lot 52 (detail opposite) © Hans Heysen/Copyright Agency 2022

ARTIST INDEX A ARMSTRONG, IAN ASPDEN, DAVID

80 5

B BACON, PAUL BALSAITIS, JONAS BENNETT, RUBERY BOISSEVAIN, WILLIAM BORGELT, MARION BOT, G. W. BROWNE, ANDREW BUCKMASTER, ERNEST

22 18 60 48, 49 114 78 102 63, 65

C CASSAB, JUDY 106 CAYLEY SENIOR, NEVILLE70, 71, 72, 73 CHEVALIER, NICHOLAS 69 CHRISTMANN, GUNTER 2 COBURN, JOHN 26, 30 COOK, WILLIAM DELAFIELD 86 CRAWFORD, LEONARD GORDON 23 CRESS, FRED 20 CROOKE, RAY 34, 35, 36, 38, 39, 41

D DARGIE, WILLIAM DAWS, LAWRENCE DICKERSON, ROBERT DUMBRELL, LESLEY DUNN, RICHARD DYER, GEOFFREY

61 40, 42 92 1, 31 103 111

E EATON, JANENNE

F FAIR, FRASER

115

G GALEA, MARK GREEN, DENISE

128

HALEY, STEPHEN 129, 130, 131, HALPERN, DEBORAH 104 HANKE, HENRY ALOYSIUS 50 HART, PRO 37, 43 HATTAM, KATHERINE 122, 123, 124 HAYNES, GEORGE 79 HEADLAM, KRISTIN 97, 98 HEYSEN, HANS 52 HICKEY, DALE 27 HODGKINSON, FRANK 119 HOLZNER, ANTON 21 HOME, DEAN 77 HOWLEY, JOHN 120

MAKIN, JEFFREY MCKAY, BRIAN MORA, MIRKA

51, 56, 58, 64 12, 125 126 112 54, 59 84 85 101 108

K KEELING, DAVID KEELING, ANWEN KNIGHT, JASPER KUCZYNSKA, MARIA

82 94 8 105

NEILSON, PETER

91, 93, 95

P PARTOS, PAUL PEART, JOHN PIRRUCCIO, VINCENT POWER, HAROLD SEPTIMUS

7 3 14 66

RANKIN, DAVID ROBERTSON-SWANN, RON ROONEY, ROBERT ROWELL, JOHN RUSSELL, DEBORAH

110 11, 13 9, 10 55, 62 76

S SAWREY, HUGH SEARLE, KENNETH SELWOOD, PAUL SENBERGS, JAN SHORE, ARNOLD SMITH, PETER JAMES STAVRIANOS, WENDY STREETON, ARTHUR

44, 45, 46 90 6 32 47 96 113 67

L LA GERCHE, GEOFF LANCELEY, COLIN LARTER, RICHARD LARWILL, DAVID LEACH-JONES, ALUN LONG, LEONARD LONG, SYDNEY LYNN, ELWYN

J JACKSON, JAMES R. JAMES, LOUIS JAMIESON, GIL JOHNS, GREG JOHNSON, ROBERT JOHNSON, TIM JONES, ASHLEY JONES, TIM JUNIPER, ROBERT

33, 81, 109 15 25

89 16 4 19 28 53, 57 68 24

TAYLOR, MICHAEL TOMASETTI, SARAH

100, 116, 117 74, 75

W WALKER, JOHN R. WARDLE, DARREN WESTWOOD, BRYAN WILLIAMS, CAROLINE WOLLMERING, DAN

118 121 88 83, 99 17, 127

Lot 7 (detail opposite) 8

Lesley Dumbrell

“My paintings always start out of, perhaps, seeing something, responding to the colours that are there, and the mood and the feeling that I have about the experience of that” LESLEY DUMBRELL, IN AN INTERVIEW WITH JAMES GLEESON IN 1979

1 LESLEY DUMBRELL (born 1941) Snakes and Ladders 1979 synthetic polymer paint and Liquitex on canvas signed and dated verso: L. Dumbrell 1979 182.5 × 243cm PROVENANCE: The National Australia Bank Art Collection RELATED WORK: Snakes and Ladders 1979, tapestry, 181 × 235cm $15,000 – 20,000

Lesley Dumbrell was a pioneer of geometric abstraction in Australia and remains one of our most renowned abstract artists. Her initial years of training at RMIT in Melbourne were filled with the conformist views and figurative training that was commom amongst the academia of the time, but Dumbrell’s curiosity sparked elsewhere. In the immediate years after she graduated at RMIT, Dumbrell’s creative output was quiet. It wasn’t until 1966 when a teaching job at the Prahran College of Advanced Education ignited her passion for abstraction. Her peers included some of the most recognised abstract artists including Alan Leach-Jones, who also embraced an abstract aesthetic, and Jim Doolin who introduced Dumbrell to Liquitex, the paint that would become synonymous with her work. Her years at Prahran provided more artistic inspiration and encouragement than her formal education, with many students exploring the principles of colour-field painting. The art world would soon catch on, with 1968 bringing forth the ground-breaking exhibition, The Field, at the National Gallery of Victoria.

Solo shows for Lesley soon ensued and her career as an abstract artist began to accelerate. Furthermore, her associations with others in the art world encouraged her feminist perspective to take hold, and led to her critical involvement in the Women’s Art Register, of which she was a founding member in 1975. A meeting between Kiffy Rubbo, Meredith Rogers, Erica McGilchrist, and Lesley Dumbrell led to a discussion on the need for an archive of local women’s art. The Women’s Art Forum was developed as a platform, and today the Women’s Art Register continues to showcase the voices and talents of women artists in Australia. At this stage, her artworks had taken on a linear approach to Op Art, where increasingly thinner lines were placed in a seemingly spontaneous design across the canvas. In fact, Lesley undertakes a meticulous planning process with preparatory studies to ensure the composition is at its most striking. Her admiration of an international abstract style, à la Bridget Riley, was starkly different to many of her female counterparts. “I’ll start with a pencil and a ruler and I’ll start working out some kind of repeated element or system. I’ll end up with a drawing. I can’t really explain what the mesh is between the line or the linear structure and the colour because, you know, they don’t come simultaneously. I used to say that the linear structure was just a way of hanging colour across a painting, if you like.” Lesley Dumbrell, in an interview with James Gleeson, 1979 In 1979, Lesley Dumbrell was one of three artists (Jeff Makin and Jan Senbergs the other two) first commissioned to create a tapestry with the Victorian Tapestry Workshop to be acquired by the National Australia Bank. Lesley’s sister, Merrill, was a key figure at the workshop and so Lesley was already a regular visitor, intrigued by the medium and how she could translate her own meticulous geometric designs into a weave. In order to keep this process as inherent to her usual ways of working as possible, Lesley first prepared the painting of Snakes and Ladders. Snakes and Ladders is a premium example of the linear abstraction that Lesley had mastered throughout the late 1970s and into the very early 80s. It’s smooth surface is meticulous, with thin strips of coloured lines intersecting and overlapping with kaleidoscopic complexity. Many of Lesley’s paintings explore elements of movement something not often associated with geometric abstraction. Many of her artwork titles address this specifically, and in this case we imagine the unpredictable movement associated with the children’s game, existing within Lesley’s own grid or framework. In the game of Snakes and Ladders, the die instills an element of chance. It’s historic roots are based around morality, reflecting life’s journey of virtues (ladders) and vices (snakes). In Lesley’s painting, we see the small short and evenly spaced lines ascending the work, akin to the ladder, before being quickly intercepted by long diagonals and lightning shapes that bring us back down. In the four decades since Snakes and Ladders was first painted, Lesley Dumbrell has traversed the opportunities and challenges of the Australian art world. As one of our foremost female abstractionists, the industry’s appreciation for her innovative painterly style is still catching up. With the recent buzz around Australian Women Artists, Lesley’s contributions to Australian Abstraction are now finally reaching appropriate heights. Olivia Fuller | Head of Art

2 GUNTER CHRISTMANN (1936–2013) Position Scape 1975 oil and synthetic polymer paint on canvas signed and dated lower right: G. S. Christmann ‘75 signed, titled and dated verso 168 × 120cm PROVENANCE: The National Australia Bank Art Collection

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 21, p. 34 (illus.) “The space achieved is inverted landscape-space. The foreground is at the top of the painting and the deepest space illusion at the bottom and around the edge. Contrary to traditional landscape-space, the painting does not represent a cut-out section of a larger real space.

The forms inside the rectangle are totally and only related to its very own rectangular shape. The square edge of the image itself gave shape to what forms are seen inside its borderlines. In the drawings also, the shape of the drawing itself gave the order of its content. Structure came out of the assertion of the boundaries - from the geometric shape of the picture area to a natural order within” (Artist’s Statement p.34) $12,000 – 18,000

EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

3 JOHN PEART (1945–2013) Rough Cut 1974 synthetic polymer paint on canvas signed, titled and dated verso: ROUGH CUT 1974/ John Peart 212 × 152cm PROVENANCE: Christie’s, Sydney, 17 August 1998, lot 1083 The National Australia Bank Art Collection (label verso) $12,000 – 18,000

4 RICHARD LARTER (1929–2014) Scatter Shift 1980 synthetic polymer paint on canvas initialled and dated lower right: R.L 12.80 artist’s name, title and date inscribed on stretcher bar verso 184 × 160cm PROVENANCE: Watters Gallery, Sydney Christie’s, Melbourne, 3 May 2004, lot 262 The National Australia Bank Art Collection (label verso) $5,000 – 7,000

5 DAVID ASPDEN (1935–2005) Sydney Summer 1987 oil on Arches paper monogrammed lower right and upper left 133 × 241cm PROVENANCE: The Estate of the Artist, 2008 The National Australia Bank Art Collection $8,000 – 12,000

6 PAUL SELWOOD (born 1946) Gymea Sylph 1999 polychromed steel 72.5 × 81 × 66cm PROVENANCE: Watters Gallery, Sydney The National Australia Bank Art Collection EXHIBITIONS: Paul Selwood: Beltore Group and other Sculptures, Watters Gallery, Sydney, 18 August – 4 September 1999, cat. no. 5 $4,000 – 6,000

7 PAUL PARTOS (1943–2002) The Flow 1992 oil on linen signed, titled and dated verso: Paul Partos 1992/ THE FLOW 224 × 197.5cm PROVENANCE: The Artist, 1993 The National Australia Bank Art Collection $12,000 – 18,000

8 JASPER KNIGHT (born 1978) They Used to Call Me Psycho 2012 enamel, masonite, perspex and metal sign on board signed, titled and dated verso: JASPER KNIGHT/ 2012/ “THEY USED TO CALL ME PHYSCO” [sic] 165 × 120cm PROVENANCE: Australian Galleries, Melbourne (label verso, cat. no. AG304563) The National Australia Bank Art Collection EXHIBITIONS: Curb Your Enthusiasm, Australian Galleries, Melbourne, 13 November – 2 December 2012, cat. no. 5 (illus. in exhibition catalogue, cover) $7,000 – 9,000

9 ROBERT ROONEY (1937–2017) In Storyland No. 7: The Three Roads 1993 synthetic polymer paint on canvas signed, titled and dated verso: ROBERT ROONEY/ “IN STORYLAND 7/ THE THREE ROADS”/ 1993. 137.5 × 107cm PROVENANCE: Pinacotheca Gallery, Melbourne 1998 The National Australia Bank Art Collection (label verso) $6,000 – 9,000

Display photographs of the National Gallery of Victoria's exhibition, The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, 1982. 22

National Bank of Australasia Ltd. and the National Chambers buildings ca 1875 - 1938

10 (opposite) ROBERT ROONEY (1937–2017) In Storyland No. 5: The Man in the Sack 1993 synthetic polymer paint on canvas signed, titled and dated verso: ROBERT ROONEY/ “IN STORYLAND 5./ THE MAN IN THE SACK” 1993 138 × 109cm PROVENANCE: Pinacotheca Gallery, Melbourne The National Australia Bank Art Collection (label verso) $6,000 – 9,000 11 RON ROBERTSON–SWANN (born 1941) Circumscribe 1999 steel and metallic paint 70 × 31 × 6cm PROVENANCE: Michael Carr Art Dealer, Sydney 2000 The National Australia Bank Art Collection $3,500 – 4,500

12 LOUIS JAMES (1920–1996) Spyhole II 1979 oil on canvas signed lower left: LOUIS JAMES 122 × 122cm PROVENANCE: The National Australia Bank Art Collection (label verso)

RELATED WORK: Spyhole 1969, synthetic polymer paint and oil on canvas, 182.8 × 152.4cm, Winner of the Sulman Prize in 1969, Collection of the Art Gallery of New South Wales, Sydney $3,000 – 4,000

13 RON ROBERTSON-SWANN (born 1941) Downtown 1973 synthetic polymer paint on canvas signed, titled and dated verso: Ron Robertson-Swann / “Downtown” 1973 176 × 240cm PROVENANCE: The National Australia Bank Art Collection

14 VINCENT PIRRUCCIO (born 1946) Untitled 1975 stainless steel and chrome signed, dated and inscribed verso: Vincent Pirruccio/ Milano 75 99.5 × 99.5 × 25cm PROVENANCE: The National Australia Bank Art Collection (label verso) $2,000 – 4,000

15 BRIAN MCKAY (1926–2014) Secret Banner 1969 oil on calico on board titled and dated on artist’s label verso 121.5 × 121.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $4,000 – 6,000

16 COLIN LANCELEY (1938–2015) Interior After Rain 1976 mixed media on paper signed and dated lower right: Lanceley 76 titled lower left 111.5 × 111.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 55, p. 68 (illus.) “Interior after Rain 1976 evolved from Colin Lanceley’s ‘Miraculous Mandarin’ series of prints based on Bartok and the idea of the alien figure in a strange land. Lanceley has always admired the poetry of T. S. Eliot and in particular his poem ‘The Wasteland’ and it is this theme of the alien in a hostile environment that provides the key to the meaning of ‘Interior after Rain’. An admirer of the work of Miro and his abstracted Surrealist images, Lanceley has in this work developed his own personal visual vocabulary of strange animals which have gathered around pools of water, dancing in celebration of the lifegiving rains”. (excerpt, p. 68) $2,000 – 3,000

17 DAN WOLLMERING (born 20th Century) Density 2000 painted steel 100 × 69 × 25cm PROVENANCE: Flinders Lane Gallery, Melbourne 2003 The National Australia Bank Art Collection $1,500 – 2,500

18 JONAS BALSAITIS (born 1948) Kookaburra, View of Kosciuszko from Bass Strait 1997 synthetic polymer paint on canvas signed, titled, and dated on stretcher bar verso: 9.6.97 Monday Kookaburra View of Kosiusko [sic] from Bass Strait J. Balsaitis 1997 122 × 173cm PROVENANCE: Pinacotheca Gallery, Melbourne 1999 The National Australia Bank Art Collection (label verso) EXHIBITIONS: Jonas Balsaitis Paintings, Pinacotheca Gallery, Melbourne, 27 October – 20 November 1999, cat. no. 10 (as “Kookaburra”) $5,000 – 7,000

19 DAVID LARWILL (1956–2011) Nighttime at Queenscliff Creek 1990 oil on linen diptych signed, titled and dated verso: David Larwill, 1990 / “Nightime [sic] at Queenscliff Creek” 91.5 × 213cm (overall) PROVENANCE: Tolarno Galleries, Melbourne 1990 The National Australia Bank Art Collection EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991 $14,000 – 18,000

20 FRED CRESS (1938–2009) Mezak 1975 synthetic polymer paint on canvas signed, titled and dated verso: FRED CRESS/ “MEZAK” 1975 213 × 167cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 26, p. 39 (illus.) “During 1974 whilst travelling in America and Europe it occurred to me that by using line I could express ‘Australianess’. I became committed to making something in abstract painting which was essentially Australian - an attitude considered by many to be somewhat naive at the time. So all my pictures from 1974, through 1975 and 1976 concentrate on the character and positioning of lines, first individually, then in groups and finally as shapes”

“Quite early in the process a single line became dominant as in this painting ‘Mezak’. These single lines took on special qualities, were heavier, fleshier, and had light within them. Awkwardly placed yet graceful in themselves, they should be read as having human presence representing aspects of the Australian character as seen and felt by one painter.” “All painters develop their imagery in private and in silence, a weakness and strength of our situation, and to speak too openly about the painting seems a violation of the initial act” (Artist’s Statement. p. 39) Krell, A., Fred Cress: Stages, Wild & Woolley, Sydney 1989, p. 120 no. 22 $5,000 – 7,000

21 ANTON HOLZNER (born 1935) The Alcove 1979 oil on canvas inscribed on stretcher bar verso: ANTON HOLZNER, “WOLKENSTEIN”, BAGDAD, TASMANIA. titled and dated verso 149 × 120cm PROVENANCE: The National Australia Bank Art Collection

EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 The Seventies’ Exhibition: Selected Paintings from the National Australia Bank Collection ‘Modern Art of the Seventies’, Caulfield Arts Complex, Melbourne, 18 January – 11 February 1990, cat. no. 12 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 44, p. 57 (illus.) “The painting ‘The Alcove’ belongs to a group of

paintings carried out in 1979. It represents an interior with abstract symbols. I shall give a background to my work - I was brought up in a middle European family during the wartime and its aftermath. I migrated to Australia in 1955 when I was twenty years old. After my formal training in art I was strongly attracted to the mainstream of abstract art. My keen interest in past civilisations and the question of man’s existence and purpose on this planet have a constant influence on my work. In the twenty-six years of my being in Australia, the nature; the landscape with its vast distances, the ever-changing skies; the sea and the wild coastlines are the other sources of my inspiration in my paintings, mingled with a strong feeling towards metaphysics” (Artist’s Statement, p. 57) $4,000 – 6,000

22 PAUL BACON (born 1963) Until The Moss Had Reached Our Lips 1997 painted steel initialled and dated at base: PB 97 84 × 47 × 19cm PROVENANCE: Legge Gallery, Sydney 2006 The National Australia Bank Art Collection $1,500 – 2,500

23 LEONARD GORDON CRAWFORD (1920–1996) Opus Anglicanum No. 7 1964 enamel and string on board signed and dated lower centre: CRAWFORD 64 signed, titled, and dated verso 137 × 121.5cm

PROVENANCE: Chapman Powell Street Gallery, Melbourne to Mrs Clive Brown Sotheby’s, Melbourne, 19 April 1993, lot 106 Private collection, Melbourne The National Australia Bank Art Collection (label verso)

EXHIBITIONS: Group Exhibition of Gallery Artists, Rudy Komon Gallery, Sydney, late 1960s Survey - Crawford, French, Johnson, Kemp, Senbergs, National Gallery of Victoria, Melbourne, 1965, cat. no. 4 Leonard Crawford, Chapman Powell Street Gallery, Melbourne, 1970 Art and Furniture of the 1960s, Charles Nodrum Gallery & Luke Design, Melbourne, 15 October – 7 November, 1998, cat. no. 10 $8,000 – 12,000

24 ELWYN LYNN (1917–1997) Pair of works i) Last Post 1974 ii) Rose Garden 1974 mixed media on canvas signed, titled and dated verso on each panel i)182.5 × 25.5cm ii)183 × 41cm PROVENANCE: The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 59, p. 72 (illus.) “In late February, 1973 I began a series of tall, narrow works that came to a halt in May 1974. I imagine that I was influenced by the format of a Jules Olitski (Fourth Indomitable, c.255 × 28cm) that I bought for the Power Gallery of Contemporary Art in 1972, but it is clear that I was intent upon avoiding lateral pauses and intervals and in having the work register itself as instantly as possible, like a sign-post or single-minded totem pole” “I did over twenty of these works, most of which were not textural, but emphasised collage, and, usually, had a clear enough theme.” “Last Post (10 February, 1974) was one of four very narrow paintings; the sound the Last Post stops me in my tracks so I wanted something positive but tender, with appropriate associations... The painting is postlike, an elongated stele, a reminder of the day that has ended, perhaps... but I should like to feel that it is open to other, but similar, interpretations” (Artist’s Statement, p. 72) $3,000 – 5,000

Tapestries Georges Mora in his role as art advisor to the National Australia Bank held a steadfast belief in building the first “collection of tapestries designed by Australian artists and woven in Australia”1, an attainable ambition and concept with the establishment of the Victorian Tapestry Workshop in 1976. The newly minted organisation was fuelled by the desire to introduce a new tradition of tapestry in Australia and pioneer a cultural industry that would innovate and not replicate its overseas counterparts. The country’s high-quality wool and the decision to train fine arts graduates as weavers were seen as its secret weapons. Following founding director Sue Walker’s proposal to the NAB that they consider tapestries for its Melbourne Head Office Development, the workshop and Bank under Mora’s curatorial stewardship swiftly developed a close and rewarding partnership, that was defining for both. Mora initially developed a strategy for six tapestry commissions to form a nucleus within the broader art collection. A few years later, he envisioned expanding it to encompass a further ten tapestries by living Australian artists to create a legacy “of outstanding historical and artistic value for this country”2 in a medium which has endured over the centuries. Ultimately, under Georges Mora’s direction, nine tapestries across an eightyear period were acquired for the Head Office from VTW. Interestingly, these tapestries were not the first to enter the collection and were in fact preceded by the acquisition of John Coburn’s Arabian Sun 1976 and Bushfire c.1976. Produced by the leading French textile firm, Ateliers Pinton, Coburn’s Aubusson tapestries were part of a modern era revival for an art form that had long been regarded as old-fashioned. Whether by happenstance or by design, these in vogue and now classic works from Coburn’s oeuvre paved the way for the formation of a remarkable suite of eleven tapestries unrivalled by any Australian corporate collection. Deep consideration was given to the curatorial cohesion and visual impact of the tapestry collection; and in the first instance, the works were designed to be of identical dimensions. (The exception was the workshop’s large-scale commission; Early Days in the Goldfields 1982 by Albert Tucker. Measuring 5 x 2.4 metres it was a site-specific commission conceived as a hero work for the Bank’s Collins Street premises and it remains in their permanent collection.) Fittingly, Mora saw that the VTW commissions granted a valuable opportunity to engage with the burgeoning generation of contemporary artists and took the key decision to select artists unfamiliar with the medium, with the view to injecting an edgier dynamic. Jeffrey Makin, Lesley Dumbrell and Jan Senbergs were the first artists chosen and in 1979 their three tapestries were cut from the loom. The principle of collaboration lay at the heart of VTW’s philosophy. Undoubtedly, the commissioned artists were invigorated to navigate new territory in partnership with the weavers, who in turn were excited by the tightrope walk of interpreting the artist’s painted vision to bring it to life in thread. The choreography of coloured intersecting rods dancing across the surface of Lesley Dumbrell’s Snakes and Ladders appeared to be deceptively straightforward to reinvent in woven form. However, during the weaving process, it was discovered that the straight lines warped as the weft compacted creating wavy lines rather than taut rods as intended. As fate would have it, good synergies were at play with Dumbrell’s sister, Merrill Dumbrell, one of the weavers assigned to solve this conundrum. It brought an added dimension to the notion of collaboration between artist and workshop. For Jeff Makin’s commission the artist produced a painting to scale. The rich and pronounced painterly qualities of Port Campbell demanded a sophisticated and sensitive reading by the weavers to translate and articulate the subtleties within the expansive blue seas of the Southern Ocean. 42

Jeff Makin alongside his tapestry, Port Campbell, at the Victorian Tapestry Workshop

A single state print was the source material for Jan Senbergs’ West Melbourne 1979. The tapestry is a testament to the weavers’ interpretative abilities and dexterity in finding ways to masterfully depict the complex grey tonal variations and markings inherent in the print. Mirka Mora’s Curlews in the Garden 1980 became the fourth commission completed in 1981. Mirka was well versed in textile media and was known for exhibiting virtuosi embroideries filled with imaginative imagery and a playful spirit. Tapestry, undoubtedly, was a natural fit and she relished its expansive stage, sandwiching a menagerie of fantasy creatures between two ornate borders, all extravagantly embellished with lurex thread – a luxury afforded to Mirka and subsequently rarely repeated by the workshop! This composition brimming with unabashed richness gave the weavers a special joy to create. Dale Hickey’s arresting design was based upon the principles of linocut, but in reverse. The trees of Cottlesbridge Landscape delineated in black ink, painted on clear acetate film were laid upon a canvas, whereupon Hickey applied random strokes of colour. Sue Walker observed that this singular approach afforded the weavers a pronounced freedom in their interpretation and execution of the tapestry. Blue Pacific by Alun Leach-Jones was introduced into the collection in 1984, rather than commissioned. During this mid-1980s period, the workshop was experiencing extraordinary growth, that in turn was beginning to cause creeping delays to the scheduling of the NAB’s commissions. To protect momentum and keep the project on track, Leach-Jones’ tapestry rendering of his signature screenprint was swiftly made available to the collection. In many ways this unexpected addition was seen as a coup as Leach-Jones was one of the workshop’s most in demand tapestry artists of the era. The NAB’s dedicated patronage to contemporary tapestry and the growing reputation of its collection was recognised early in 1982 through the National Gallery of Victoria’s exhibition The Seventies: Australian Paintings and Tapestries from the Collection of the Australia National Bank. The VTW also acknowledged the NAB’s contribution when Sue Walker in September 1985 wrote to Mora that “the Bank’s encouragement and confidence in the workshop has been a key factor in the extraordinary success that the workshop now enjoys”3. This success engendered a raft of significant commissions and notably a monumental tapestry by Arthur Boyd for the new Parliament House in Canberra. Measuring 9 x 20 metres, it would require two years to complete and as irony would have it, this impacted on the schedule and progress of the NAB’s own commission program. Even so, ambitions were well stoked, and Georges Mora had already received the green light from the Bank to launch the second phase of the collection after completion of the core six VTW tapestries. Tantalising plans were formed to commission both a diverse and new wave of rising artists; Susan Norrie and Howard Arkley were among those selected to prepare future designs. Ultimately, the eighth and ninth commissions, and the last executed by the workshop, were Janenne Eaton’s Fly 1986 and Anatjari Tjampitjinpa’s Untitled 1987. Their tapestries illustrated the orienting of the collection’s compass fearlessly towards the frontier of contemporary practice and were a promise of what was to come. Sophie Ullin

Georges Mora in letter to Sir Andrew Grimwade dated 18 Oct 1984

Ibid

Sue Walker to Georges Mora in letter dated 12 Sept 1985

Holding Curlews in the Garden moments after it has been cut from its loom.

25 MIRKA MORA (1928–2018) Curlews in the Garden 1980 wool, cotton and lurex tapestry woven signature and date lower right: MIRKA.80. woven Victorian Tapestry Workshop insignia lower right woven by Sara Lindsay, Irja West, Cheryl Thornton, and Ilona Fornalski 176 × 241cm PROVENANCE: The Victorian Tapestry Workshop, Melbourne (tapestry no. 80/6) The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, p. 124 (illus.) Walker, S., Artists’ Tapestries From Australia 1976– 2005, The Beagle Press, Sydney, 2007, p. 92 (illus.) Cotte, S., Art in the Making: Mirka Mora’s Techniques and Materials, and Their Meaning in Conservation, University of Melbourne Dissertation, Melbourne, September 2016, p. 184 “For the National Bank I wanted to mix the wool with silver and silk and gold. So I wasn’t very popular because it became more expensive, but it was made.” (Mirka Mora, 1984) In a letter from Sue Walker (then director of the Victorian Tapestry Workshop) to C. Abbott (from the National Bank of Australia) in 1980, she reaffirms “Mirka has been to the workshop to discuss the design with the weavers and we are all greatly excited by the rich and decorative possibilities it presents for tapestry (…) after talking with Mr. Mora about the cost of this tapestry we realise that the next tapestry will need to be of a less complex nature”. $35,000 – 45,000

26 JOHN COBURN (1925–2006) Arabian Sun 1976 wool tapestry ed. 1/6 woven signature lower right: Coburn woven Pinton Manufacture de Tapiesseries d’Aubusson monogram lower left signed and titled on label attached verso 179 × 241.5cm PROVENANCE: Pinton Manufacture de Tapiesseries d’Aubusson, France (label verso) The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, p. 120 (illus.) “John Coburn produced over eighteen designs for tapestries woven by Pinton Manufacture de Tapiesseries d’Aubusson, France, including the Creation Series. From 1969 to 1972 Coburn lived in France where he designed three commissioned tapestries for Aubusson and he supervised the Sydney Opera House curtains. These works, influenced by Matisse’s late collage works and the tapestries of Lucrat, show Coburn’s strong sense of colour and his use of simplified geometric designs evolved from plant forms and childhood memories of the luxuriant tropical vegetation of Northern Queensland.” (edited excerpt, p. 120) $30,000 – 40,000

27 DALE HICKEY (born 1937) Cottlesbridge 1981 wool, linen and cotton tapestry woven by Sue Batten and Pam Joyce 210 × 174cm PROVENANCE: The Victorian Tapestry Workshop, Melbourne (tapestry no. 81/3) The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, p. 122 (illus.) “The design for Cottlesbridge 1981 comes from a group of works titled ‘Cottlesbridge Cubism’ in which he introduces, within impasto black outline drawing of the bush, intense arbitrary patches and areas of colour.” (excerpt, p. 122) Walker, S., Artists’ Tapestries From Australia 1976– 2005, The Beagle Press, Sydney, 2007, p. 93 (illus.) $8,000 – 12,000

28 (detail opposite) ALUN LEACH-JONES (1937–2017) Blue Pacific 1982 cotton, wool, linen, viscose and lurex tapestry woven signature lower left: Alun Leach-Jones woven Victorian Tapestry Workshop insignia lower left signed on label attached verso woven by Cresside Collette and Alan Holland 176 × 294cm PROVENANCE: The Victorian Tapestry Workshop, Melbourne (tapestry no. 82/19) The National Australia Bank Art Collection LITERATURE: Walker, S., Artists’ Tapestries From Australia 1976– 2005, The Beagle Press, Sydney, 2007, p. 93 (illus.) RELATED WORK: Blue Pacific, screenprint, edition of 65, 75 × 127cm $12,000 – 18,000 © Alun Leach-Jones/Copyright Agency 2022

“In this image I was attempting to evoke a different perspective on our lives ‘as lived’. Swept up and tossed in various directions by the dynamics of life’s rhythms and currents a multitude of sublime forces that influence our ever-evolving points of view.” (JANENNE EATON, 2022)

29 JANENNE EATON (born 1950) Fly 1986 wool, cotton and linen tapestry signed on label verso woven by Robyn Daw and Meryn Jones 184 × 244cm PROVENANCE: The Victorian Tapestry Workshop, Melbourne (tapestry no. 86/4) The National Australia Bank Art Collection

LITERATURE: Walker, S., Artists’ Tapestries From Australia 1976– 2005, The Beagle Press, Sydney, 2007, p. 93 (illus.) OTHER NOTES: “In this image I was attempting to evoke a different perspective on our lives ‘as lived’. Swept up and tossed in various directions by the dynamics of life’s rhythms and currents - a multitude of sublime forces that influence our ever-evolving points of view.” (Janenne Eaton, 2022) $8,000 – 12,000

30 JOHN COBURN (1925–2006) Bushfire c.1976 wool tapestry ed. 1/6 woven signature lower right: Coburn woven Pinton Manufacture de Tapiesseries d’Aubusson monogram lower left signed and titled on label attached verso 178.5 × 227.5cm PROVENANCE: Pinton Manufacture de Tapiesseries d’Aubusson, France (label verso) The National Australia Bank Art Collection $20,000 – 30,000

31 LESLEY DUMBRELL (born 1941) Snakes and Ladders 1979 wool, linen, cotton, silk, lurex and rayon tapestry woven Victorian Tapestry Workshop insignia lower right woven by Sara Lindsay, Merrill Dumbrell, Alan Holland, Cresside Collette 181 × 235cm PROVENANCE: The Victorian Tapestry Workshop, Melbourne (tapestry no. 79/3) The National Australia Bank Art Collection

Detail of Snakes and Ladders in creation

EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

32 JAN SENBERGS (born 1939) West Melbourne 1979 wool, cotton and linen tapestry woven Victorian Tapestry Workshop insignia lower right woven by Marie Cook, Jan Nelson, Wendy Webb, Cheryl Thornton, Gordon Cameron, Irja West, Ilona Fornalski, and Kathy Hope 162 × 239cm PROVENANCE: The Victorian Tapestry Workshop, Melbourne (tapestry no. 79/11) The National Australia Bank Art Collection EXHIBITIONS: Australian Tapestry, Arsenal Gallery, New York, 3–31 October 1980, cat. no. 6 The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

The Seventies: A Selection of Australian Paintings and Tapestries From the Collection of National Australia Bank, Waverly City Gallery, Melbourne, 21 February – 13 March 1986, cat. no. 17 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, p. 125 (illus.) The design for West Melbourne 1979 continues Senberg’s interest in architecture as the facade of ideas and the physical evidence of civilisation. The central core of the work has, at its base and to the right, the remaining fragments of a neo-classical doric columned building, perhaps one of the few remaining architectural monuments of the Victorian era in a world of high-rise development. (excerpt, p. 125) Walker, S., Artists’ Tapestries From Australia 1976– 2005, The Beagle Press, Sydney, 2007, p. 91 (illus.) $10,000 – 15,000

Weavers working on Senbergs' West Melbourne

33 JEFFREY MAKIN (born 1943) Port Campbell 1979 wool, cotton, linen and viscose tapestry woven signature and date lower right: Makin ‘79. woven Victorian Tapestry Workshop insignia lower left woven by Kathy Hope, Andrea May, Irja West, and Christine Harris 184 × 240cm PROVENANCE: The Victorian Tapestry Workshop, Melbourne (tapestry no. 79/2) The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

LITERATURE: “Makin tapestry unveiled”, The Sun, 3 August 1979, p. 21 Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, p. 123 (illus.) “The design for Port Campbell 1979, like Heidelberg ‘76, shows Makin’s interest in the basic structural forms of the landscape. The broad areas of the landscape are energised by the jewels of impasto detailing and contained within a skeleton of thick schematised lines.” (excerpt, p. 123)

Port Campbell being cut from the loom

Walker, S., Artists’ Tapestries From Australia 1976– 2005, The Beagle Press, Sydney, 2007, p. 90 (illus.) RELATED WORK: Port Campbell 1979, oil on linen, 167 × 212.5cm $6,000 – 8,000

END OF TAPESTRIES

34 RAY CROOKE (1922–2015) Marytown, Northern Territory oil on canvasboard signed lower left: R. Crooke titled verso 35 × 51cm PROVENANCE: The National Australia Bank Art Collection $3,000 – 5,000 © Ray Crooke/Copyright Agency 2022

35 RAY CROOKE (1922–2015) Cape York Landscape I c.1963 oil on canvas on board signed lower left: R Crooke 29.5 × 43.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $2,000 – 4,000 © Ray Crooke/Copyright Agency 2022

36 RAY CROOKE (1922–2015) Mt. Newman Landscape 1970 oil on board signed lower right: R Crooke titled and dated on gallery label verso 36.5 × 44cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: Perc Tucker Regional Gallery Travelling Exhibition (label verso) $2,000 – 3,000

37 PRO HART (1928–2006) The Diggings 1974 oil on board signed lower right: PRO/ HARt titled verso 60 × 104.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $15,000 – 20,000

Ray Crooke

Ray Crooke travelled from his Yorkey’s Knob base (near Cairns) to be part of an expedition (with artists Percy Trezise and Dick Roughsey, and an optometrist named Frank Woolston) sponsored by the Cooktown Historical Society in 1969. They retraced a track across the Great Dividing Range that led to the site of the Palmer River gold-fields which, for a brief time in the late 1800s, had brought people from all over the world to this remote place in Queensland. Rosemary Dobson writes, “He saw man’s brief occupation of the landscape, not in terms of myth and drama, but as a transient incident now only perceptible in superficial traces”. Crooke had first experienced northern Australia and the Cape York peninsula as a soldier in 1942 during a journey from Western Australia to Queensland. His engagement with the essential qualities of this place subsequently drove many of his paintings of the Australian landscape. These essays on light and heat, vegetation and country have largely been overshadowed in the public view by his other colourful and lyrical depictions of the Torres Strait and Pacific Islands and their peoples. However, the landscapes and paintings such as Boundary Rider offer a powerfully different contribution, vignettes that evoke a sensory awareness of the temperature and tenor of these places, often featuring a solitary figure who waits. As curator Sue Smith writes, paintings from the Palmer River “convey a deep sense of the sometimes tenuous presence, and historic resonance, of Australians in the dry, inhospitable and vast expanses of the continent”. In Boundary Rider, Crooke’s personal reticence is visible in the shadowed features of the Aboriginal rider, whose horse almost disappears into the shimmering heat of the landscape. The light on this grassy, forested hill is searing, and its dryness is reflected in the Giotto-influenced translucence of the paint, which evokes the intensity of the northern Australian environment. Writer George Johnston (the subject of Crooke’s Archibald Prize-winning portrait in 1970) wrote a foreword to the Palmer River paintings exhibition held at the Johnstone Gallery in 1970 (10 July to 1 August). He suggests, “… [Crooke] has painted this [country] not representationally, nor even mythically, but I think metaphysically… He is concerned with a glimpsed, muted, immobile, strangely haunted landscape, where the flow of time past, and time present, and time eternal is an almost visible, portrayable thing”.

38 RAY CROOKE (1922–2015) Boundary Rider, Palmer River Country, North Queensland c.1970 oil on canvas laid on board signed lower right: R Crooke titled on gallery label verso 131 × 121cm PROVENANCE: Artarmon Galleries, Sydney (label verso) The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries from the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 27, p. 40 (illus.) $30,000 – 50,000

Crooke was also aware of and sympathetic to the plight of Aboriginal people, and sensitive to his own contextual “ill-digested background of European culture”. His paintings become a response to “rightness of the Aborigine” in his own country. He suggested that, “His poetry, song, and dance is the country, yet it is not mine.” In this painting he places the Aboriginal stockman in Country, with a strong sense of the ongoing emotional resonance between this (and all) man and nature. Its narrative is elusive, working slowly on its viewer to conjure the atmospherics and environment of this place and its people, an uneasy but intriguing landscape into which we may project. The position of the rider on the far left hand side of the canvas and on the downward slope of the hill speaks to both its title and the status of Aboriginal people, so often driven to the edge. 1

Crooke wrote to Smith (in 1992) that his interests in the European masters such as Giorgione “allowed me to appreciate the Australian landscape – especially in the Laura and Palmer River paintings where I was able to introduce the stockman and pack horses in place of gods and shepherds”. The tonal register of browns, greens and yellows undulating across the land and trees possess and contain the stockman, with the intensity of the blue sky a counterbalance to the darkness of the foreground. Louise Martin-Chew

Dobson, R., Focus on Ray Crooke, UQP, Brisbane, 1971, p. 40

Smith, S., North of Capricorn: the art of Ray Crooke, Perc Tucker Regional Gallery, Townsville, 1997, p.15 2

Quoted in Dobson,R., Focus on Ray Crooke, UQP, Brisbane, 1971, p.45 3

Ibid p. 17

Ibid p. 16

Ibid p. 17

Wilson, G., Encounters with country: landscapes of Ray Crooke, Cairns Regional Gallery, 2005 (and national tour), p.56 7

39 RAY CROOKE (1922–2015) Sandstone Bluff, Laura, Queensland 1964 oil on board signed lower left: R. Crooke titled on Academy Arts label verso 59.5 × 89.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $6,000 – 9,000

40 LAWRENCE DAWS (born 1927) Omen Bird in Landscape c.1970 oil on canvas signed lower right: DAWS 122 × 122cm PROVENANCE: The National Australia Bank Art Collection (label verso) $4,000 – 6,000

41 RAY CROOKE (1922–2015) Cape York Landscape II c.1963 oil on canvas on board signed lower left: R Crooke 29.5 × 43.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $2,000 – 4,000

42 LAWRENCE DAWS (born 1927) Red Landscape c.1970 oil on board signed lower right: DAWS 90 × 120.5cm PROVENANCE: Barry’s Art Gallery, Queensland (label verso) The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 28, p. 41 (illus.) “Daws has travelled extensively throughout Northern Australia where he was impressed by the eroded desert which through time and the elements has been stripped back to the bone to reveal ‘the anatomy of the landscape’. Red Desert (c.1970) is based on the landscape in the region of Pine Creek in the Northern Territory.” (excerpt, p. 41) $3,000 – 5,000

43 PRO HART (1928–2006) Race Day c.1975 oil on board signed lower left: PRO/HARt 49.5 × 59.5cm PROVENANCE: The National Australia Bank Art Collection $8,000 – 12,000

Hugh Sawrey

44 HUGH SAWREY (1923–1999) Getting the Sale Sheep Ready, Tilbooroo Station, West Queensland oil on board signed lower right with thumbprint: SAWREY signed and titled verso 74 × 98.5cm PROVENANCE: The National Australia Bank Art Collection $15,000 – 20,000

45 HUGH SAWREY (1923–1999) Along the Paroo River, West Queensland c.1982 oil on canvas signed lower right with thumbprint: SAWREY artist’s name and title inscribed on stretcher bar verso 74 × 99cm PROVENANCE: The National Australia Bank Art Collection (label verso) $14,000 – 18,000

Over the course of his painting career, Hugh Sawrey produced numerous works representing the Australian outback. Many reflected his own experiences as a labourer on sheep and cattle properties throughout western Queensland up until the late 1950s when he became a full time artist. By that time he was in his early 40s, a very late start in an industry which often favours its creative talent young and freshly minted from art school. But what Sawrey lacked in academic youthfulness, he made up for in direct experience of some of his most recognisable subject matter; the isolated lives of mid 20th century rural communities. The NAB Art Collection features several of these classic Hugh Sawrey paintings including; Getting the Sale Sheep Ready, Tilbooroo Station, West Queensland (lot 44), Along the Paroo River, West Queensland (lot 45) and A Confidential Moment in the Bar of the Cattle Camp Hotel, Charleville, Queensland (lot 46). The first two depict aspects of the sheep industry and are superb examples of Hugh Sawrey landscapes, displaying his mastery of the essential elements of his oeuvre; including station horses, river gums, out-buildings and mobs of sheep among the dust and atmosphere of working toil. Produced in the early 1980s, these large works demonstrate the refinement of an artist at the height of his career with a sharp attention to detail that states emphatically: ‘I saw this.’ By comparison, A Confidential Moment in the Bar of the Cattle Camp Hotel stands in stark contrast. Not just because it is an interior setting but also due to the rough painterly treatment he has employed across the entire surface. Pub scenes were yet another facet of his depiction of rural life and he painted them regularly. In many cases his pub pictures were as intricate as his droving scenes, filled with subtle details from pictures hanging on the walls to objects behind the bar or the particular tilt of a patrons hat: something imitators would invariably miss or interpret incorrectly. At 32 x 56 inches (82.5 x 143cm), A Confidential Moment is a large work executed on board. But in this instance, when presented with such a broad expanse of ‘acreage’ Sawrey eschewed detail for gesture. Part of the reason may have been his mood at the time, but then, painting on board, with none of the give of canvas, always gave him an opportunity to work in a far more aggressive manner. It is an approach recalling the earliest days of his professional career and influence of expressionist painter Jon Molvig. Interestingly enough, however, the equine study in the background (a Sawrey within a Sawrey) is well defined. It clearly brackets the two central characters in the narrative and from this interaction we can guess the nature of ‘a confidential moment’ referred to in his enigmatic title. When Sawrey was still droving and shearing on stations around Charleville as a young man, pubs such as the Cattle Camp Hotel were often one of only a few places to go after knock off. Like Sawrey himself at the time, many of the clientele were itinerant workers and the local watering hole, a fixed abode in their transient existence, was also able to facilitate one of their favourite recreational activities - gambling. While we can never know for sure, there is a very high probability that the publican here is letting his listeners in on a hot horse racing tip. Every person in the room is linked to this single conversation, including the hookey players, indicated by the pair of beer glasses reserving the stool in the centre of the composition. Each facial expression, signified with a few quick dabs of raw umber, brings us back to the intrigue beneath the enamel light shade: a key prop in every Hugh Sawrey pub scene. Around this cluster, expressionistic marks are given free rein. The foreground is a jagged tangle of shadows, ceiling beams are little more than wipes with a dry brush, free-floating red and blue slashes of paint hold the roof on. Bracketing figures left and right are sketched in, transparent and ghost like. It is a rough painting, featuring rough characters in a rough isolated environment. Sawrey could do sentimental or precise when the situation called for it. But he could be equally coarse and unflinching. In fact his ability to dispense with painterly niceties at will is precisely what prevents a traditional pub painting such as this from falling into cliché and parody. As our eyes circumnavigate the work, leaping from one brush stroke to another, we forget matters concerning correct anatomy, perspective or delicate modelling. Instead, we find ourselves drawn into the atmosphere of a long ago day, the smell of tinned tobacco and hops, and the whiff of intrigue surrounding a confidential moment in the bar of the Cattle Camp Hotel. Anthony Sawrey

46 HUGH SAWREY (1923–1999) A Confidential Moment in the Bar of the Cattle Camp Hotel, Charleville, Queensland oil on board signed lower right with thumbprint: SAWREY signed and titled verso 82.5 × 143cm PROVENANCE: The National Australia Bank Art Collection $35,000 – 45,000

47 ARNOLD SHORE (1897–1963) Bush Scene at Eltham 1958 oil on board signed and dated lower right: SHORE 58 titled on label verso 24.5 × 31cm PROVENANCE: The National Australia Bank Art Collection $1,500 – 2,000

48 WILLIAM BOISSEVAIN (born 1927) Untitled (Bush Scene) 1970 oil on linen signed lower right: W. BOISSEVAIN 64.5 × 50cm PROVENANCE: The National Australia Bank Art Collection (label verso) $2,000 – 3,000

49 WILLIAM BOISSEVAIN (born 1927) Untitled (View of South Perth from King’s Park) oil on linen signed lower right: W. BOISSEVAIN 49 × 64.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $2,000 – 3,000

50 HENRY ALOYSIUS HANKE (1901–1989) McMahon’s Point oil on board signed lower right: Hanke titled verso 59 × 74cm PROVENANCE: The National Australia Bank Art Collection (label verso) $2,000 – 4,000

51 JAMES R. JACKSON (1882–1975) Blue Water Bay, Sydney Harbour 1956 oil on canvas signed and dated lower right: JAMES R JACKSON/ 56 titled on stretcher bar verso 59.5 × 90cm PROVENANCE: Sedon Galleries, Melbourne 1958 The National Australia Bank Art Collection (label verso) $8,000 – 10,000

Hans Heysen

Five decades on since his death in the late 1960’s, Hans Heysen’s status remains unchallenged as one of the nation’s most skilled and celebrated exponents of the art of watercolour painting. As an artist he was to change the course of twentieth century Australian painting and transformed the way his fellow countrymen viewed their own antipodean landscape. No other Australian painter has been able to match Heysen’s expertise in the capture of the most remarkable atmosphere effects achieved by colour and brush on paper. His love of the natural world, ‘Dame Nature’ as he so frequently described it, stamped his work with a unique sincerity and honesty. Indeed Heysen’s art was vital to his existence and his mission was to capture on paper and canvas the beauty of nature in all its seasonal nuances. His subject was intimately Australian, the result of a dedication to and understanding of the landscape masterfully delivered by the great technical skills of his drawing and draughtsmanship. His recognition of the Australian eucalypt as objects of great beauty resulted in his name being synonymous with the depiction of the native gum trees in all their varieties of form. He believed the gum presented itself as one of the most unique of all trees in existence due to the diversity of structure, foliage and colourings of the bark. And yet Heysen initially had strong grounding in European academic tutoring and a dedicated ongoing art education. His early training in Adelaide in the 1890’s was followed by an intense study period of three years in France at various Parisian Academies including the prestigious École des Beaux-Arts and a fourth year on a private study tour of the well known galleries of Italy, particularly of Florence, Venice and Rome. He became a great admirer of the landscapes of Claude Lorrain and John Constable and developed a deep and respectful appreciation for the work of Jean-Baptiste-Camille Corot. Heysen was also to pay continued respect to the Barbizon School of France and in particular Jean-Francois Millet which resulted in his own focus and devotion to a lifelong recording and celebration of our own Australian rural life and the toil of man in pastoral and agricultural pursuits. Heysen was therefore to focus on a unique recording of a regional way of life in Australia, particularly in the Adelaide Hills and environs as no other artist has ever achieved. He depicts here the drover and his faithful dog, guiding the flock to their destination with the surrounding countryside bathed in the most wonderful light and atmosphere. His dedication as to the visual capture of this landscape subject demands to be recorded, interpreted and celebrated as an integral part of our nation’s history. Possibly his finest depiction of this favoured subject is ‘Droving into the light’ (1914-21) in the collection of the Art Gallery of Western Australia, now recognised as one of our greatest federation pictures. In Travelling Sheep and Gums we see Heysen nearing his mid-seventies and painting still with complete control of brush on paper. He was indeed a beautiful colourist as witnessed by the continuation and success of these light filled landscapes. He was a rare artist who, after achieving recognition and financial success quite early in his adult life went on to maintain prominent artistic status throughout the next six decades – his final work was completed in his 90th year, an accomplished watercolour, Droving, Charleston 1968. Hans Heysen still retains the record of nine times winner of the prestigious Wynne Prize for landscape. To this day he remains one of our country’s most popular and best loved painters in acknowledgement of his significant contribution to Australian art. As one of the first non-indigenous artists to engage deeply with the Australian landscape he was hugely influential in allowing Australians to gain a more astute perspective and appreciation for the unique beauty and diversity of their own country. Allan Campbell Curator of the Heysen Collections The Cedars, Hahndorf

52 HANS HEYSEN (1877–1968) Travelling Sheep and Gums 1950 watercolour on paper signed and dated lower right: HANS HEYSEN 1950 51 × 76cm PROVENANCE: The National Australia Bank Art Collection $30,000 – 40,000

53 LEONARD LONG (1911–2013) Murrumbidgee Country 1959 oil on canvas on board signed and dated lower right: LEONARD LONG 59 artist’s name and title on label verso 48.5 × 58.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $2,000 – 4,000

54 ROBERT JOHNSON (1890–1964) Mt. Genowlan Pastures, The Capertee Valley, New South Wales oil on canvas signed lower left: Robert Johnson artist’s name and title inscribed on stretcher bar verso 69.5 × 90cm PROVENANCE: The National Australia Bank Art Collection $1,500 – 2,500

55 JOHN ROWELL (1894–1973) In Red Gum Country 1940 oil on canvas signed lower right: John Rowell signed, titled, and dated verso 70.5 × 90.5cm PROVENANCE: The National Australia Bank Art Collection $1,500 – 2,500

56 JAMES R. JACKSON (1882–1975) Mount Isa oil on canvas signed lower left: JAMES R JACKSON artist’s name and title inscribed verso 49.5 × 60cm PROVENANCE: The National Australia Bank Art Collection (label verso) $3,000 – 4,000

57 LEONARD LONG (1911–2013) The Wollondilly Valley Near Goulburn 1953 oil on canvas signed and dated lower right: LEONARD LONG ‘53 artist’s name and title inscribed on stretcher bar verso 69.5 × 90.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $3,000 – 4,000

58 JAMES R. JACKSON (1882–1975) Billabong Landscape oil on canvas signed lower left: JAMES R. JACKSON 75.5 × 90.5cm PROVENANCE: Sedon Galleries, Melbourne 1958 The National Australia Bank Art Collection $5,000 – 7,000

59 ROBERT JOHNSON (1890–1964) Brindabella Ranges, Australian Capitol Territory c.1957 oil on linen signed lower left: Robert Johnson 70 × 90.5cm PROVENANCE: Sedon Galleries, Melbourne 1959 The National Australia Bank Art Collection (label verso) $1,500 – 2,500

60 RUBERY BENNETT (1893–1987) Coxs River Crossing 1959 oil on canvas signed centre left: RUBERY BENNETT 61 × 81.5cm PROVENANCE: Sedon Galleries, Melbourne 1959 The National Australia Bank Art Collection $5,000 – 7,000

61 WILLIAM DARGIE (1912–2003) Valley of the Great Wall oil on canvas signed lower left: Dargie titled on unknown label verso 50 × 65cm PROVENANCE: (Possibly) J. Leger & Son, London The National Australia Bank Art Collection $2,000 – 3,000

62 JOHN ROWELL (1894–1973) Spring Morning oil on canvas signed lower left: JOHN ROWELL 45.7 × 61cm PROVENANCE: The National Australia Bank Art Collection $1,500 – 2,500

63 ERNEST BUCKMASTER (1897–1968) The Old Bridge, Alexandra oil on canvas laid on board signed lower right: E. Buckmaster signed and titled on frame verso 67.5 × 80cm PROVENANCE: The National Australia Bank Art Collection (label verso) $3,000 – 5,000

64 JAMES R. JACKSON (1882–1975) Afternoon, Bellingen, North Coast, New South Wales 1957 oil on canvas signed and dated lower right: JAMES R JACKSON/ 57 titled on stretcher bar verso 50 × 60cm PROVENANCE: The National Australia Bank Art Collection $3,000 – 4,000

65 ERNEST BUCKMASTER (1897–1968) Silvan Dam 1958 oil on canvas signed lower right: E. Buckmaster 91 × 118cm PROVENANCE: Sedon Galleries, Melbourne 1958 The National Australia Bank Art Collection $6,000 – 9,000

Harold Septimus Power

66 HAROLD SEPTIMUS POWER (1878–1951) The Bullock Team c.1914 oil on canvas laid on board signed twice lower left: H. S. POWER 111 × 178.5cm PROVENANCE: Leonard Joel, Melbourne, 25 May 1973, lot 306 The National Australia Bank Art Collection EXHIBITIONS: The 147th Exhibition of the Royal Academy of Arts, London, 3 May – 14 August 1915, cat. no. 584 (as “Australian Bullock Team”) The Ninetieth Exhibition of the Royal Scottish Academy of Painting, Edinburgh, Sculpture and Architecture, 6 May – 2 September 1916, cat. no. 300 (as “An Australian Bullock Team”) Paintings by H. Septimus Power R.O.I.S.A.P, Victorian Artists’ Society Galleries, Melbourne, 14 June – 2 July 1921, cat. no. 20 (as “Australian Bullock Team”) LITERATURE: The Art of H. Septimus Power, introduction by Max Middleton, Rigby, 1974, pl. 42, p. 97 (illus.) Mr Power’s Paintings, The Argus, Melbourne, 15 June 1921, p. 7 $70,000 – 90,000

Alongside the landscape, Harold Septimus Power’s enduring passion was undoubtedly the subject of the animal. The two go hand in hand throughout his oeuvre, with horses, hounds, sheep, goats and bullocks amongst his most sought-after subjects. With little schooling under his belt and handicapped with a rare form of deafness, Power was faced with barriers from an early age. As a young boy, he showed promising signs of becoming an artist and had a keen eye for draughtsmanship. Although his father, Peter Power, was a hatter by trade, he was also a painter and did everything possible to discourage his son from pursuing this career path as he had experienced himself the hardships involved with making a profitable career from painting. Fortunately, his sentiments did not discourage Septimus Power and he began his artistic journey when he ran away to the Australian bushland at fourteen to paint the countryside and its animals. Upon his return, he worked as a carriage painter, which provided him with equine inspiration, and as a veterinary assistant. As much as he loved the job, after some time he was advised by management to just ‘stick to his drawings’1. In the year 1900, Power moved to Adelaide and befriended fellow South Australian artist, Hans Heysen. Working during the week as a political cartoonist, he spent his weekends painting with Heysen in the Adelaide Hills, selling their works through a local dealer. It was during this time that he received the first commission ever given by the National Gallery of South Australia to an Australian artist2. It was for an animal painting titled After the Day’s Toil 1903, hung in the Gallery in August 1904. Within this same year, he married his first wife and together they ventured to Paris with limited savings where he studied briefly under the renowned Jean Paul Laurens. Settling in England soon after, he met instant success and a steady flow of commissions. His expertise in animal paintings was welcomed by many as horses, hunting and hounds were a favourite pastime for many of his wealthy clients. Recently returning from a visit to Australia, the Duke of York (the future King George V) was so greatly inspired by the unique landscape that he commissioned Power to paint a scene of an Australian bullock team for his private collection. World War I was looming and Power felt compelled to join. His application, however, was met with rejection as his hearing impediment was too much of a handicap. Throwing himself back into his painting, he focused on another reworking of a bullock team, but this time on a more impressive scale. Standing at a monumental 122 x 183cm, The Bullock Team c.1914 is a statement piece that could not be overlooked. Proudly shown at several esteemed exhibitions, this piece commanded pride of place and was ‘hung on the line’ at the 1915 Exhibition of the Royal Academy of the Arts in London. Only an esteemed artist could claim such a valuable position on the wall at eye level, guaranteeing maximum exposure. The painting was so widely praised during the exhibition that it was selected for inclusion at the internationally acclaimed Royal Scottish Academy of Painting in 1916. Despite his inability to serve in the military, Septimus Power was asked to become one of the official World War I artists with fellow artist George Lambert for the Australian Government. This was an opportunity he embraced, as his abilities to paint en plein air and capture animals in movement were two skills he had garnered across his career. Winning the hearts of many, An Australian Bullock Team made a return appearance in his homeland in the 1921 show at the Victorian Artists’ Society for all to see. Exhibited with his paintings from the war, this exhibition was endorsed by the Australian Government and many works from this exhibition remain in public collections. The period leading up to, and during, World War I was without a doubt the most significant in Power’s painting career and the creation of The Bullock Team interweaves right through these key moments of the artist’s life establishing him as one of the most accomplished painters of the 20th century. The interwar period marked a shift in his practice, where he moved into the aesthetics of still life painting and portraiture, perhaps a sign of retirement from the action and a welcomed retreat from working tirelessly outdoors for an entire career. Lucy Foster | Fine Art Specialist

Middleton, M., The Art of H. Septimus Power, Rigby Limited,

Adelaide, 1974, p. 3 2

Ibid

Arthur Streeton

Arthur Streeton’s series of garden and flower paintings dating from the mid-1920s through to the late-1930s mark a high point in this important part of his oeuvre. They were inspired by the creation of gardens at his home in Toorak, Melbourne, and a rural property he purchased at Olinda in the Dandenong Ranges in 1921. According to his grandson Oliver Streeton, who had an intimate knowledge of his grandfather’s life and work, the flower paintings ‘successfully express [the artist’s] deeply held feelings [for nature] through the simultaneous growing and painting of flowers.’1 Throughout his life, Streeton demonstrated a penchant for painting flowers and still life compositions and often spoke about his love of plants. However, it was not until they purchased a house at Grange Road, Toorak, in 1927, that he and his wife Nora were able to fully indulge their passion for gardening. Situated on the corner of Grange Road and Douglas Street, the substantial house ‘Altadore’ was reputedly built by English settlers during the early 1850s, making it one of the oldest in the area. The rambling garden featured mature trees including a large oak planted by the original owners. These plantings provided welcome areas of shade and privacy. They also framed the expansive areas of open space and allowed views to the distant Mt Macedon to the north.2 Streeton quickly set about making his own mark on the generous half acre of land. He converted the stables at the bottom of the garden into his studio and planted his favourite roses, climbers and annuals. Agapanthus, c.1927 dates from this same period and is a beautifully proportioned and executed example of Streeton’s work. The unusual combination of flowers – agapanthus stalks in full bloom, strap leaf and purple berries, the fruit of the native dianella, in the centre and the bright red-yellow bloom of day lilies in the rear, add a vibrancy and uniqueness to the work that resembles previous mixed floral arrangements such as Hydrangeas 1925. The vertical compositional structure and format also refer back to some of his earliest exhibited flower paintings such as the masterful Honesty and artichokes, 1889, an oil on cedar panel painting from the Wesley College Collection, Melbourne. The informal arrangement and individual brushstrokes are highlighted by their placement against the exposed cedar panel. In Agapanthus, c.1927, the purple agapanthus and green stems also pop out from the neutral void, creating a dancing cacophony of explosive colour and form. A slightly larger work bearing the same title, subject and date as our work was included in an exhibition of his work held at the Fine Arts Societies Galleries, Melbourne, in March 1928. Although primarily showing landscapes, art critics focused on the flower studies which according to the Argus were noticeable for ‘their fine qualities of colour and harmonious composition’. Agapanthus, Canterbury Bells and Bunch of Flowers were singled out as notable examples ‘revealing rich colour schemes, vigorous treatment, and well thought out design.’3 Three dynamic characteristics that are attributes of the current work and revealing of the artist’s love for nature and its floral bounty. Rodney James

67 ARTHUR STREETON (1867–1943) Agapanthus c.1927 oil on canvas signed lower left: A STREETON bears number verso: 14 61.5 × 30.5cm PROVENANCE: Sedon Galleries, Melbourne The Estate of R. Thorogood Private collection Thirty Victoria Street, Sydney c. 1995 (label verso) The National Australia Bank Art Collection EXHIBITIONS: (Possibly) Sedon Galleries, Melbourne, 16 November 1927 LITERATURE: (Possibly) Streeton, A., The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat. no. 926 $20,000 – 30,000

1. Oliver Streeton, ‘Arthur Streeton: A family insight into the artist-gardener’, in Geoffrey Smith, Arthur Streeton: The passionate gardener, Mornington Peninsula Regional Gallery, 2001, p.16. 2. Wray, C., Arthur Streeton: Painter of light, Jacaranda, Milton, Queensland, 1993, p.166 3. Argus, 15 March 1928, p.13. J. S. MacDonald, the soon to be Director of the National Gallery of Victoria, wrote in his capacity at critic for the Herald that Streeton’s Agapanthus and other flower paintings were ‘lovely and well-done’. Herald, 14 March 1938, p.8.

68 SYDNEY LONG (1871–1955) Design for a Frieze 1907 pencil, ink, watercolour and gouache on paper signed lower right: Sid Long 11.5 × 62cm PROVENANCE: The National Australia Bank Art Collection (label verso) EXHIBITIONS: Society of Artists, 1907 (cat. 244) LITERATURE: Mendelssohn, J., The Life and Work of Sydney Long, Copperfield Publishing, Sydney, 1979, no. 145, p. 235 $8,000 – 10,000

Related Work: National Bank of Australasia Melbourne c.1862, coloured engraving, engraved by Arthur Wilmore

69 NICHOLAS CHEVALIER (1828–1902) National Bank of Australasia Melbourne 1862 watercolour and pencil on paper signed and dated lower left: N. CHEVALIER/ 1862 titled lower centre: NATIONAL BANK OF AUSTRALASIA MELBOURNE 24.5 × 32cm PROVENANCE: The National Australia Bank Art Collection OTHER NOTES: The building here depicted is The Second Head Office Building on Collins Street, Melbourne from 1859–1870. RELATED WORK: National Bank of Australasia Melbourne c.1862, coloured engraving, engraved by Arthur Wilmore, 10.5 × 16cm (image) $2,000 – 3,000

70 NEVILLE CAYLEY SENIOR (1853–1903) Sandpipers watercolour on paper laid on board signed lower right: Neville Cayley 75 × 129.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $8,000 – 12,000

100

71 NEVILLE CAYLEY SENIOR (1853–1903) Kookaburras 1896 watercolour, pencil and ink on paper signed and dated lower right: Neville Cayley/ 1896 59 × 46.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $2,000 – 3,000

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72 NEVILLE CAYLEY SENIOR (1853–1903) Kookaburra with Catch 1894 watercolour on paper signed and dated lower right: Neville Cayley/ 1894 49 × 32cm PROVENANCE: The National Australia Bank Art Collection $1,500 – 2,000

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73 NEVILLE CAYLEY SENIOR (1853–1903) Wild Duck watercolour and ink on paper signed lower right: N. Cayley 55.5 × 42.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $1,500 – 2,000

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74 SARAH TOMASETTI (born 1968) Mitre Peak (Milford Sound Series) 2002 fresco and glaze on muslin 127 × 121cm (irregular) PROVENANCE: Christine Abrahams Gallery, Melbourne (label verso) The National Australia Bank Art Collection (label verso) EXHIBITIONS: Temporality, Christine Abrahams Gallery, Melbourne, 8 – 27 February 2003 $3,000 – 4,000

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75 SARAH TOMASETTI (born 1968) Milford Sound III 2002–03 fresco and glaze on muslin signed, titled and dated mid right: SC Tomasetti/ 2002/ ‘Milford Sound’ signed lower right: SC Tomasetti 120.5 × 175cm (irregular) PROVENANCE: Christine Abrahams Gallery, Melbourne (label verso) The National Australia Bank Art Collection $4,000 – 5,000

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76 DEBORAH RUSSELL (born 1951) Angel’s Window 1989 oil on canvas signed, dated and titled verso: ANGELS WINDOW/ 89,/ Deborah Russell 106.5 × 167.5cm PROVENANCE: Tolarno Galleries, Melbourne 1989 (label verso) The National Australia Bank Art Collection EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991 $1,500 – 2,500

77 DEAN HOME (born 1961) Baroque Detail 2000 oil on board 41 × 152cm PROVENANCE: Goya Galleries, Melbourne 2001 The National Australia Bank Art Collection $4,000 – 6,000

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78 G. W. BOT (born 1954) Tree of Life I 2014 raw steel (5 pieces) 126 × 280 × 10cm (overall, variable) PROVENANCE: Beaver Galleries, Canberra The National Australia Bank Art Collection EXHIBITIONS: Beaver Galleries at the Melbourne Art Fair, Melbourne, 13–17 August 2014 OTHER NOTES: “The glyphs are relief sculptures (or steel drawings). There are all sorts of languages cut into the steel shapes, which also cast their own tiny shadow stories on to the wall and the placement of each glyph in relation to each other sets up a conversation or dance between them all.”

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“Steel is such an iconic material for Australia, steel being a refined version of iron. Bits of it lie scattered all over the landscape, reminders of past lives. The rusting process is a reminder of our own transience on Earth, the earthiness of the rust colour a reminder of the Earth we live on.” (G.W. Bot, interviewed by Janet McKenzie for Studio International, 6 October 2014) $3,000 – 5,000 79 GEORGE HAYNES (born 1938) Pineboard II 1976 oil on board signed, titled and dated verso: Pineboard II George Haynes ‘76 91.5 × 122cm PROVENANCE: The National Australia Bank Art Collection (label verso)

EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 42, p. 55 (illus.) “Pineboard II 1975 is characteristic of George Haynes’ mid 1970s work with its use of flat monochrome layers of colour superimposed on a previous painted area to create an ambiguous abstract yet figurative landscape. Just as the title is ambiguous - the painting is also about an ambiguous interpretation between flat almost abstract areas of paint, and a representational landscape depicting pictorial depth and perspective” (edited excerpt, p. 55) $4,000 – 6,000

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80 IAN ARMSTRONG (1923–2005) Blue Billabong 1977 oil on linen signed and dated lower left. Ian Armstrong ‘77 inscribed with artist’s name and title verso 161.5 × 129cm PROVENANCE: The Artist The National Australia Bank Art Collection OTHER NOTES: This painting was produced following the artist’s visit to Bet Bet Creek near Maryborough, Victoria. $4,000 – 6,000

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81 JEFFREY MAKIN (born 1943) Port Campbell 1979 oil on linen signed and dated lower right: Makin ‘79 titled and dated verso 167 × 212.5cm PROVENANCE: The Artist The National Australia Bank Art Collection (label verso)

LITERATURE: Makin, J., Olsen, J., Zimmer, J. & Heathcote, C., Australia Felix : Landscapes by Jeffrey Makin, Macmillan Art Publishing, 2002, p. 46 “The scale of the coastline there is staggering. I began work just before I left for Europe in 1977. On my return I went back to Port Campbell to pick up where I had left off. The main problem with such a grand scene is that it’s filled with incident. So, fairly dramatic editing was involved to get it down to a few refined components: sky; sea and island pinnacles of eroded rock (the Apostles). As the painting took over from the subject, forms, shapes and colours were balanced with each other, rather than being referred to the original motif.” (Jeffrey Makin, p. 46)

RELATED WORKS: Port Campbell 1979, tapestry, 184 × 240cm Port Campbell 1980, oil on canvas, 140 × 245cm, Collection: Arnold, Block, Leibler, Melbourne $8,000 – 10,000

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82 DAVID KEELING (born 1951) Landscape with a View to Distance 1988 oil on wood signed and dated lower right: D. Keeling 88 90 × 119.5cm PROVENANCE: Tolarno Galleries, Melbourne 1988 The National Australia Bank Art Collection EXHIBITIONS: The National Australia Bank Art Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991, p. 19 $6,000 – 8,000

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83 CAROLINE WILLIAMS (born 1945) Riverbank Painting 1989 oil on linen initialled and dated lower right: CW. 89 137 × 197.5cm PROVENANCE: Tolarno Galleries, Melbourne 1989 The National Australia Bank Art Collection EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991 (illus. in exhibition catalogue, p. 9) $4,000 – 6,000

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84 TIM JOHNSON (born 1947) Georges River 1988 synthetic polymer paint on linen signed, titled, and dated verso: Georges River 88 Tim Johnson 122 × 152cm PROVENANCE: Tolarno Galleries, Melbourne 1989 (label verso) The National Australia Bank Art Collection EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991 (illus. in exhibition catalogue, p. 11) $7,000 – 9,000

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85 ASHLEY JONES (born 1951) On the Edge - Red Chair 1978 synthetic polymer paint on canvas artist’s name and title inscribed on label verso 78 × 115cm PROVENANCE: Tolarno Galleries, Melbourne 1979 The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 44, p. 57 (illus.) $1,500 – 2,500

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William Delafield Cook

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86 WILLIAM DELAFIELD COOK (1936–2015) A Hedge 1974 synthetic polymer paint on canvas signed, dated and inscribed verso: W Delafield Cook/ Berlin 1974 82.5 × 199.5cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 The Seventies: A Selection of Australian Paintings and Tapestries From the Collection of National Australia Bank, Waverly City Gallery, Melbourne, 21 February – 13 March 1986, cat. no. 12 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, p. 38 (illus.) Hart, D. William Delafield Cook, Craftsman House in association with G+B Arts International, 1998, p. 105 (illus.) “This painting contrasts with his earlier images of hedges and topiaries in formal garden settings. It reveals the shift...in the close-up concentration on a particular aspect of nature, removed from the surrounding context, and in the intricate handling of multiple, densely interwoven components - in this case of the coppery-coloured leaves” (excerpt, p.105) $40,000 – 60,000

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For most Australians, William Delafield Cook seemed to materialise fully-formed onto the local art scene - from nothing to the top of the tree overnight. The reasons for this were understandable, for his first exhibitions were held at the Redfern Gallery in London, a privilege earned after a decade teaching in English art schools and spending many hours contemplating the works in the great galleries of Europe. Born in the Melbourne suburb of Caulfield, he trained at the nearby Caulfield Technical College and then at the Royal Melbourne Institute of Technology. He left Australia in 1958 at the age of just 22, like many of his peers going ‘OS’ to broaden his horizons but, unlike most, he stayed on, making London his home base for the next 50 years. Like Sidney Nolan and Arthur Boyd before him, he spent the greater part of his working life resident in the United Kingdom, and like them he is always considered an ‘Australian artist’. After working through various forms of abstraction, Delafield Cook moved to a form of realism based wholly on photography. Australian art lovers had been shocked into the present, or at least the immediate past, when the NGV mounted the massive exhibition Two Decades of American Painting in 1967, which featured amongst the dominant abstract expressionists the huge photorealist paintings of James Rosenquist, creations based on the illustrations from popular magazines. While accurate realism had long been an aspiration among conservative artists, the idea of ‘painting a photograph’ was something entirely different. While many artists had freely incorporated photographic reference, it was only ever intended as a means to an end, not an end in itself. What William Delafield Cook took from the American pop artists was not the subject matter, but the obvious reliance on the photographic image and the cinematic scale. That he would rely on photographs was a given - he was after all painting the Australian landscape in the confines of his studio in Putney, half a world away. When his works did arrive in Australia, collectors and galleries alike were mesmerised by his strangely still and meticulously rendered paintings of haystacks and roadside vistas. We are all used to holding a postcard sized photograph and taking in the captured moments of family and friends, holiday snaps and foreign parts. What we see in that concentrated moment takes on a wholly different meaning when rendered on a huge scale, but with the same detail. Delafield Cook’s paintings, when seen from a distance, appear as huge ‘enlargements’, like projections from a cinema or a photographic installation. But when approached, the details remain, rather than blurring out as would happen with a huge photograph. Even on the closest inspection the artist has not resorted to sleight of hand tricks - as we see in his haystacks, every blade of grass has been meticulously rendered, haystacks at the opposite end of the artistic spectrum to those of Claude Monet, for whom the stack was simply a large geometric form, textured and reflective at a moment in time. When Australia did get to see the works of the mature Delafield Cook, he did not have to fight for acceptance, to work through the ranks like most of his peers. It is instructive to note that all our major institutions purchased his works within a year of their completion. The bulk of his paintings went to corporate collections and a small number of wealthy individuals - for not only were the prices daunting, the scale of the paintings made them ideal for public galleries and the foyers of corporate headquarters, way beyond the confines of most domestic spaces. The subject work, A Hedge, has all the detail and meticulously rendered surface of the haystacks and hillsides, but our focus has been brought down to a few metres as we gaze at the dense foliage of the copper beech. The ‘horizon’ formed by the top of the hedge sits just below the top of the composition, enclosing and trapping us with no clue as to where we are - is it the artist’s back garden, or some random wall in a local park? Just as the painting is flawless, so too is the hedge - not one weed, flower, bud or foreign plant intrudes upon the space. We search across the surface, looking for some small variation - perhaps the glimpse of a bird or spider web to break the pattern. The sky too is flat and featureless, as it always is with the Delafield Cook landscape. The cinematic feel is accentuated by the proportion of the work being 2.4:1, almost identical to the 2.35:1 of Cinemascope, ‘wide screen’ as best understood when the work was created. That effect is further accentuated by the broad painted frame with its rounded corners, a photographic device the artist often used to enclose his subjects and further separate them from the wider world. In every way the painting is an understated masterwork, with subtle and sophisticated colour and a quiet mystery of subject matter, which turns us in on ourselves as we contemplate the patience and dedication of a true artist. Gavin Fry | BA(Hons) MA MPhil

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Display photographs of the National Gallery of Victoria's exhibition, The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, 1982. 120

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87 DENISE GREEN (born 1946) Laight Street View No.1 1975 oil on canvas signed, titled and dated verso: “Laight Street,/ view no 1”/ Denise Green/ 1975 121 × 120.5cm PROVENANCE: The National Australia Bank Art Collection (label verso)

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EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 The Seventies’ Exhibition: Selected Paintings from the National Australia Bank Collection ‘Modern Art of the Seventies’, Caulfield Arts Complex, Melbourne, 18 January – 11 February 1990, cat. no. 10

88 BRYAN WESTWOOD (1930–2000) Mollymook, New South Wales Evening oil on linen signed upper right: Westwood 183 × 121.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) $3,000 – 4,000

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89 GEOFF LA GERCHE (born 1940) Bennelong Restaurant 1978 oil on linen artist’s name, title and date on label verso 213 × 243.5cm PROVENANCE: The National Australia Bank Art Collection (label verso)

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the paintings take twice as long to complete. They require a much more intense discipline - a new kind of invention of means rather than of forms. I use the photograph as a tool to capture a precise moment, an experience or visual event. A painting such as the Bennelong Restaurant (Sydney Opera House) is more than just a photograph of this place. It is an interpretation, for as I paint each segment I am adding to it my own knowledge, marks and love of paint. I strive for an intimacy of vision which I hope communicates to the viewer as it must first do for me, the artist” (Artist’s Statement, p. 67) $2,000 – 4,000

90 KENNETH SEARLE (born 1951) WEST Number 8 1990–91 oil on canvas initialled and dated lower right: K.S. 1990–91 122 × 244cm PROVENANCE: Tolarno Galleries, Melbourne 1991 (label verso) The National Australia Bank Art Collection (label verso)

EXHIBITIONS: WEST: Paintings by Ken Searle, Watters Gallery, Sydney, 17 April – 4 May 1991, The Lewers Bequest and Pentrith Regional Art Gallery, 10 May – 23 June 1991, cat. no. 8 (illus. in exhibition catalogue) The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991

LITERATURE: “The jacarandas are in bloom on the bank of the Nepean as a paddle steamer cruises past the demesnes of the riverside residences towards the old highway bridge” (excerpt, Watters Gallery exhibition catalogue) $3,000 – 5,000

Sydney Suburb, Museum of Sydney, Sydney, 15 April – 23 July 2000

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91 PETER NEILSON (born 1944) Maybe, Maybe Not, That Isn’t the Question 1999 oil on linen signed and dated lower right: NEILSON 99 signed, titled and dated verso 150 × 200cm PROVENANCE: Pinacotheca Gallery, Melbourne 2000 The National Australia Bank Art Collection (label verso) $5,000 – 7,000

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92 ROBERT DICKERSON (1924–2015) Mother and Child pastel on paper signed lower right: DICKERSON 74 × 55cm PROVENANCE: The National Australia Bank Art Collection (label verso) $4,000 – 6,000

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93 PETER NEILSON (born 1944) Play on Words (The Journalist) 1998 oil on linen signed, titled and dated verso: NEILSON 98 PLAY ON WORDS (THE JOURNALIST) 198 × 100cm PROVENANCE: Pinacotheca Gallery, Melbourne 1999 The National Australia Bank Art Collection (label verso) $4,000 – 6,000 94 (opposite) ANWEN KEELING (born 1971) Mick 1999 oil on canvas triptych signed, titled, and dated on stretcher bar verso (central panel): “Mick” Anwen Keeling 1999 180 × 156.5cm (overall) PROVENANCE: Span Galleries, Melbourne 1999 The National Australia Bank Art Collection (label verso) $2,000 – 4,000

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95 PETER NEILSON (born 1944) Mood Indigo 1996 oil on canvas signed and dated lower right: NEILSON/ 96 signed, titled and dated verso 150 × 200cm PROVENANCE: Pinacotheca Gallery, Melbourne 1998 The National Australia Bank Art Collection (label verso) $5,000 – 7,000

96 PETER JAMES SMITH (born 1954) The Wreck of the Schomberg, Peterborough, Victoria 1855; Ship Creek, Haast, New Zealand 1866 1996 acrylic, oil, and pencil on paper on board diptych signed and dated lower left: Peter James Smith 1996 artist’s name, title and date inscribed on each panel verso 92 × 368cm (overall) PROVENANCE: Gallery 101, Melbourne 1998 The National Australia Bank Art Collection OTHER NOTES: In 1855, a ship was found at Peterborough Victoria. Across the next 11 years, ruins of the ship drifted across the Tasman and found their way to Ship Creek at Haast. $6,000 – 8,000

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97 KRISTIN HEADLAM (born 1953) Public Park: Begonias (Like Meat) 1998 oil on canvas artist’s name, title and date inscribed on stretcher bar verso: KRISTIN HEADLAM. 1998 PUBLIC PARK: BEGONIAS (LIKE MEAT) 61 × 122cm PROVENANCE: Charles Nodrum Gallery, Melbourne 1999 The National Australia Bank Art Collection EXHIBITIONS: Kristin Headlam Public Park, Charles Nodrum Gallery, Melbourne, 2–20 March 1999, cat. no. 15 $3,000 – 5,000

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98 KRISTIN HEADLAM (born 1953) Public Park: The Girls I 1998 oil on canvas signed lower right: K. Headlam 76 × 76cm PROVENANCE: Charles Nodrum Gallery, Melbourne 1999 The National Australia Bank Art Collection EXHIBITIONS: Kristin Headlam Public Park, Charles Nodrum Gallery, Melbourne, 2–20 March 1999, cat. no. 16 $2,000 – 2,500

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99 CAROLINE WILLIAMS (born 1945) The Theory of Relatives (From the Independence of Memory) 1991–96 oil on canvas 91.5 × 122cm

100 (opposite top) MICHAEL TAYLOR (born 1933) Rocky Coast 1978 oil on canvas signed and dated lower left: Taylor 78 111 × 181.5cm

PROVENANCE: Deutscher-Menzies, Lowenstein Sharp Collection of Contemporary Australian Art, Melbourne, 11 November 2002, lot 119 The National Australia Bank Art Collection

PROVENANCE: The National Australia Bank Art Collection (label verso)

EXHIBITIONS: Southern Reflections - Ten Contemporary Australian Artists, Art Gallery of New South Wales, Sydney, 1998 Kulturhuset (Cultural Centre) Stockholm, Sweden, 1998 Stenersen Museum, Oslo, Norway, 1999 Goteborgs Konsthall, Gothenberg, Sweden, 1999, cat. no. 39 (label attached verso) $2,000 – 3,000

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101 (opposite bottom) TIM JONES (born 1962) Hudson River 1991 enamel and synthetic polymer paint on wood signed, titled and dated verso: TIM JONES 1991/ Hudson River 74 × 176cm PROVENANCE: Tolarno Galleries, Melbourne 1991 The National Australia Bank Art Collection EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991 $1,500 – 2,500

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102 ANDREW BROWNE (born 1960) Nocturne with Double Coulisse: River 1991 oil on linen signed, titled and dated verso: ANDREW BROWNE/ “NOCTURNE WITH DOUBLE COULISSE: RIVER”/ 1991 91 × 335cm PROVENANCE: Tolarno Galleries, Melbourne 1991 (label verso) The National Australia Bank Art Collection (label verso) EXHIBITIONS: Andrew Browne: Six Paintings Six Photographs, Michael Wardell, Melbourne, 20 June – 6 July 1991, cat. no. 2 (illus. in exhibition catalogue, cover) LITERATURE: Rooney. R., Making a Melbourne Montage, The Weekend Australian, 6–7 July 1991 (illus.) $5,000 – 8,000

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103 RICHARD DUNN (born 1944) Untitled (Corner) 1979 synthetic polymer paint on canvas signed, titled and dated verso: Richard Dunn/ ‘UNTITLED 1979’ 120 × 80cm PROVENANCE: The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 34, p. 47 (illus.) “In my painting Untitled (Corner) 1979, the suggestion of my formalism, with its pleasing shapes, textures and colours, is collided with, for example, the potential image ofa window. A room’s corner, a butterfly etc” (Artist’s Statement, p. 47) $1,000 – 2,000

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Display photographs of the National Gallery of Victoria's exhibition, The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, 1982. 138

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104 DEBORAH HALPERN (born 1957) Nefertiti 1999 ceramic tiles on fibreglass and steel signed under head: Deborah/ D. Halpern 81 × 36 × 63cm (excl. base) PROVENANCE: Christine Abrahams Gallery, Melbourne 2000 The National Australia Bank Art Collection $5,000 – 7,000

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105 MARIA KUCZYNSKA (born 1948) Torso 1985 ceramic 74 × 30 × 11cm (excl. base) PROVENANCE: Mossgreen Auctions, Melbourne, 4 June 2008, lot 994 The National Australia Bank Art Collection $1,500 – 2,500

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106 JUDY CASSAB (1920–2015) Red Desert 1972 oil on canvas signed and dated lower right: Cassab 72 titled verso inscribed verso: AGRICULTURAL SOCIETY OF VICTORIA 1973 inscribed on stretcher bar verso: TRAVELODGE PRIZE 150.5 × 168.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

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The Sound of the Sky, The Northern Territory in Australian Art, The Museum and Art Gallery of the Northern Territory, Darwin, 7 April – 16 July 2006 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 19, p. 32 (illus.) “Red Desert 1972 oscillates between an aerial ‘bird’s-eye-view’ of the landscape which is dissected by the flat red river, and alternatively a conventional pictorial perspective, a landscape where the two centrally curved shapes represent the crests of hills separated by the red shadow of the valley between.” (excerpt, p. 32) Cassab, J. Judy Cassab Diaries, Random House Australia, 1995, p. 224 $6,000 – 9,000

108 ROBERT JUNIPER (1929–2012) Untitled (Australian Landscape) 1972 watercolour, pencil, charcoal, wax on canvas laid on board signed and dated lower right: Juniper ‘72 104 × 130cm PROVENANCE: The National Australia Bank Art Collection (label verso) $7,000 – 9,000

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109 JEFFREY MAKIN (born 1943) Heidelberg 1976 oil on canvas double-sided with female nude verso signed and dated lower right: Makin 1976 artist’s name, date and ‘Whittlesea’ inscribed verso 197 × 151.5cm PROVENANCE: The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

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LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 63, p. 76 (illus.) “While the fundamental purpose of Art is still knowledge and invention, the Australian landscape remains, for me, a model of the most individual and beautiful kind. I would hope that after an intuitive response to the landscape this purpose would further individualise my paintings, creating a sense of place, and metaphors that are equivalent of reality rather than a reproduction” (Artist’s Statement, p. 76) $6,000 – 8,000

110 DAVID RANKIN (born 1946) Coastal Ridge 1980 oil on linen signed and dated lower centre: Rankin 80 titled on gallery label verso 175.5 × 132.5cm PROVENANCE: Tolarno Galleries, Melbourne 1980 (label verso) The National Australia Bank Art Collection (label verso)

EXHIBITIONS: The Seventies: Australian paintings and tapestries from the collection of National Bank of Australia, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 LITERATURE: National Commercial Banking Corporation of Australia, The Seventies: Australian Paintings and Tapestries from the Collection of National Australia Bank, Melbourne 1982, pl. 76, p. 89 (illus.) $3,000 – 5,000

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111 GEOFFREY DYER (1947–2020) Arthur Gorge, Tasmania 1990 oil on linen signed lower right: Dyer 182 × 151.5cm PROVENANCE: Gould Galleries, Melbourne 1990 The National Australia Bank Art Collection (label verso) EXHIBITIONS: Gould Galleries, Melbourne, October 1990 $10,000 – 15,000

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112 GREG JOHNS (born 1953) At The Centre (There is Nothing) 2009 corten steel initialled and dated at base: GJ 2009 130 × 130cm (excl. plinth) PROVENANCE: The Artist The National Australia Bank Art Collection $6,000 – 8,000

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113 WENDY STAVRIANOS (born 1941) Mind Doors 1975 ink on cotton signed, titled and dated lower centre right: MIND DOORS W.STAVRIANOS 75 172.5 × 258.5cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 The Seventies’ Exhibition: Selected Paintings from the National Australia Bank Collection ‘Modern Art of the Seventies’, Caulfield Arts Complex, Melbourne, 18 January – 11 February 1990, cat. no. 21

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LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 86, p. 99 (illus.) “As I hatched away with my pen recording memories, sewing together fragments, my life pieced together as the work came together.” “The idea for some of my work came from my desire to surround myself with tree trunks - to actually be inside my forest. For most of 1976 I was isolated in a northern suburb of Darwin - desolate was too kind a word for it - ugly rows of cyclone damaged houses - all I had to enjoy was a small forest of palms like totems in green and gold.” (Artist’s Statement, p. 99) $3,000 – 5,000

114 MARION BORGELT (born 1954) Ancestral Mind 1988 oil on canvas signed and dated verso: Marion Borgelt 1988 artist’s name, title and date inscribed verso 180 × 330cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney 1988 Christie’s, Christie’s Contemporary, Sydney, 13 August 2000, lot 78 The National Australia Bank Art Collection EXHIBITIONS: Marion Borgelt, Roslyn Oxley9 Gallery, Sydney, July 1988, cat. no. 5 $6,000 – 8,000

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115 FRASER FAIR (born 1949) Bacchus Marsh Quarry 1979 oil on linen signed and dated lower right: FRASER FAIR 79 152 × 167cm PROVENANCE: The National Australia Bank Art Collection

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EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982 The Seventies’ Exhibition: Selected Paintings from the National Australia Bank Collection ‘Modern Art of the Seventies’, Caulfield Arts Complex, Melbourne, 18 January – 11 February 1990, cat. no. 7

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 37, p. 50 (illus.) “The luminous effect of light and broad expanse of earth colours, ochre and mauves lend effect to nature treated as an allusive interior.” “I have adopted a voyeur’s view that sweeps into the panorama of the quarry, the violence of a scarred landscape, veiled by an atmospheric tonal intermediary sharpening the quarry itself into a crystalline limpidity.” “I have evoked a spatial and dramatic ambiguity borrowed from Chinese scroll painting, fused with the closed intensity of futurist dynamism, to create a restive but illusive vision of landscape.” (Artist’s Statement, p. 50) $3,000 – 5,000

Fraser Fair alongside his painting at the opening of the National Gallery of Victoria's Exhibition, The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, 1982

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Display photographs of the National Gallery of Victoria's exhibition, The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, 1982. 152

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116 MICHAEL TAYLOR (born 1933) Swordfish Reef 1979 oil on canvas signed and dated lower left: TAYLOR/ 79 titled on stretcher bar verso 137 × 182.5cm PROVENANCE: Charles Nodrum Gallery, Melbourne 1997 The National Australia Bank Art Collection (label verso) $2,000 – 4,000

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117 MICHAEL TAYLOR (born 1933) Fishing Off Shore 1988 oil on canvas signed and dated lower left: M. Taylor/ ‘88 213.5 × 107cm PROVENANCE: Tolarno Galleries, Melbourne 1991 (label verso) The National Australia Bank Art Collection EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991 $3,000 – 5,000

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118 JOHN R. WALKER (born 1957) River 1989 synthetic polymer paint on canvas inscribed with artist’s name, title, and date verso: JR WALKER/ RIVER 89/ TO TOLARNO GALLERIES 86.5 × 168.5cm PROVENANCE: Tolarno Galleries, Melbourne 1991 (label verso) The National Australia Bank Art Collection (label verso) EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991 $2,000 – 3,000

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119 FRANK HODGKINSON (1919–2001) East Alligator Billabong II 1979 oil on canvas signed and dated lower right: 79/ Frank Hodgkinson signed, titled and dated verso 151 × 181.5cm PROVENANCE: Realities Gallery, Melbourne (label on stretcher bar verso) Corporate collection, Melbourne Sotheby’s, Melbourne, 27 August 2007, lot 251 (label verso) The National Australia Bank Art Collection (label verso) $4,000 – 6,000

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120 JOHN HOWLEY (born 1931) Homage to Arthur Streeton 1979 synthetic polymer paint on canvas signed and dated lower right: Howley 79 122 × 137cm PROVENANCE: The National Australia Bank Art Collection (label verso) EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October – 28 November 1982

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LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 46, p. 59 (illus.) “In paying homage to Arthur Streeton, John Howley is reaffirming the strong tradition of the landscape pastorale in Australian painting. Howley in ‘Homage to Arthur Streeton’ 1979 has reworked Streeton’s river scene within the contemporary context of his own expressive style. The use of the deep rich blue of the river fringed by yellow and red typifies Howley’s lyrical use of colour which, like his choice of subject matter, emphasises the poetic feeling and direction of his recent work.” (edited excerpt, p.59) $3,000 – 5,000

121 DARREN WARDLE (born 1969) Gecko Gate 1999 synthetic polymer paint on canvas diptych signed, titled and dated verso: Darren Wardle 1999/ Gecko Gate 152.5 × 244cm (overall) PROVENANCE: La Trobe Street Gallery, Melbourne The National Australia Bank Art Collection (label verso) $4,000 – 6,000

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122 KATHERINE HATTAM (born 1950) Pink Armchair Green Light 2002 oil on canvas signed lower right: K. HATTAM artist’s name and title inscribed verso 122 × 91.5cm PROVENANCE: The Artist, 2003 The National Australia Bank Art Collection (label verso) $2,500 – 4,500

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123 (opposite top) KATHERINE HATTAM (born 1950) Pink Kitchen 2004 mixed media on paper signed lower right: K Hattam 118.5 × 83.5cm

124 (opposite bottom) KATHERINE HATTAM (born 1950) In My Fathers’ House 1999 oil, enamel and collage on canvas trio 76 × 56cm (each)

PROVENANCE: Mars Gallery, Melbourne 2005 The National Australia Bank Art Collection (label verso) $1,500 – 2,500

PROVENANCE: The National Australia Bank Art Collection $2,500 – 4,500

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125 LOUIS JAMES (1920–1996) Still Life with a Green Table oil on linen signed lower left: LOUIS JAMES artist’s name and title on gallery label verso 75 × 50cm PROVENANCE: Redfern Gallery, London 1956 (label verso) The National Australia Bank Art Collection (label verso) $1,500 – 2,000

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126 GIL JAMIESON (1934–1992) Grand Hotel 1978 oil on canvas signed lower left: GIL JAMIESON dated lower right titled on label verso 121 × 181cm PROVENANCE: The National Australia Bank Art Collection

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 48, p. 61 (illus.) “In ‘Grand Hotel’ 1978 Gil Jamieson has chronicled the daily life of a country town such as his native Monto, in Queensland. It was Jamieson’s spontaneous expressionist style that attracted support from such eminent patrons as John Reed, for Jamieson combined his expressive emotional style with genuine emotion and an ‘innocent eye’ which recorded his intimate knowledge and understanding of rural life.” (edited excerpt, p. 61) $2,000 – 3,000

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127 DAN WOLLMERING (born 20th Century) Squeeze 2002 plywood, customwood, pine initialled and dated at base: D.W 02 180 × 81 × 40cm PROVENANCE: Flinders Lane Gallery, Melbourne 2002 The National Australia Bank Art Collection $1,800 – 2,800 128 (top) MARK GALEA (born 1964) Cadmium Cadmium 2007 synthetic polymer paint on plywood 125 × 125 × 125cm PROVENANCE: John Buckley Gallery, Melbourne 2007 The National Australia Bank Art Collection $2,000 – 3,000

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129 STEPHEN HALEY (born 1961) Double Echo 1996–97 oil and enamel on linen artist’s name, title, and date inscribed on stretcher bar verso 120 × 186cm PROVENANCE: La Trobe Street Gallery, Melbourne (label verso) The National Australia Bank Art Collection (label verso) EXHIBITIONS: Echo, La Trobe Street Gallery, Melbourne, August – September 1997, cat. no. 9 (illustrated on exhibition invite) Deakin James Art Award, Melbourne University, Melbourne, June 1997 RELATED WORK: Double Echo Echo 1997, computer-generated print, edition of 20, 21 × 29.5cm (sheet) $5,000 – 7,000

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130 STEPHEN HALEY (born 1961) Alphabet City 1997 oil on linen signed, titled and dated verso: Stephen Haley/ ‘97/ Alphabet City 185 × 138.5cm

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PROVENANCE: La Trobe Street Gallery, Melbourne (label verso) The National Australia Bank Art Collection (label verso) EXHIBITIONS: Echo, La Trobe Street Gallery, Melbourne, August – September 1997, cat. no. 1 $3,500 – 5,500

131 STEPHEN HALEY (born 1961) Suburban Echo 1997 oil and enamel on linen four panels 122 × 122cm (overall)

PROVENANCE: La Trobe Street Gallery, Melbourne The National Australia Bank Art Collection EXHIBITIONS: Echo, La Trobe Street Gallery, Melbourne, August – September 1997, cat. no. 10 $2,000 – 4,000

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HIGHLIGHTS FROM THE NATIONAL AUSTRALIA BANK ART COLLECTION

JEFFREY SMART THE FOOTBRIDGE, 1975 oil on canvas 75.5 x 90.0 cm EST: $400,000 – 600,000

AUCTION • MELBOURNE • 22 FEBRUARY 2022 SYDNEY PREVIEW

MELBOURNE PREVIEW

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Two Rare Worcester (Barr, Flight and Barr) Porcelain Armorial Monogrammed Plates From 'the George III Service' Circa 1807–1813 $12,000 – 15,000

The Kelton Collection Indigenous Art at Leonard Joel MELBOURNE AUCTION Monday 11 April, 6pm 333 Malvern Road, South Yarra, VIC 3141

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FINE JEWELS & TIMEPIECES MELBOURNE AUCTION Monday 21 March, 6pm 333 Malvern Road, South Yarra, VIC 3141

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A Victorian Necklace Set With Opals and Emeralds in 15ct Gold $2,000 – 3,000

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FINE ART MELBOURNE AUCTION Tuesday 22 March, 6pm 333 Malvern Road, South Yarra, VIC 3141

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A Magnificent Solitaire Diamond Ring, 20.05 carats Sold for $1,625,000 IBP

NOW CONSIGNING — Leonard Joel offers specialist experience and regular, curated auctions across a diverse range of categories. MELBOURNE 333 Malvern Road, South Yarra, VIC 3141 info@leonardjoel.com.au (03) 9826 4333

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The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas. Property subject to the Artist Resale Royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST. Damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage. Title Leonard Joel guarantees good title to all lots. Warranties and Condition Reports Condition reports will be available for any lot upon request, subject to conditions. Estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates. Payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale. Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer. Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected. Credit card fees may apply. Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation 150 Collins Street, Melbourne VIC 3000 Australia BSB: 033–364 Account no: 942956 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars. Removal and Storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense. Removal Charges Each lot: $55 Storage Charges Each lot: $33 per day Protection of Movable Cultural Heritage Act 1986 (PMCH Act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable

cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act. Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/index. html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 Leonard Home Delivery Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@leonardjoel.com.au

For alternative recommended carriers please refer to our website. Partners:

CONTACT A LEONARD JOEL SPECIALIST Sale Rooms —

Leonard Joel Specialists —

The Auction Salon —

MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Hannah Ryan, Specialist Noelle Martin, Administrator and Registrar

Nick Bastiras, Manager

SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 BRISBANE OFFICE 201 Latrobe Terrace, Paddington QLD 4064 Telephone: 0412 997 080 ADELAIDE OFFICE 429 Pulteney Street, Adelaide SA 5000 Telephone: 0419 838 841 email: info@leonardjoel.com.au leonardjoel.com.au CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht BA LLB MBA CHIEF EXECUTIVE OFFICER Marie McCarthy

INDIGENOUS ART Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Specialist DECORATIVE ARTS Chiara Curcio BA, Head of Department Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art SYDNEY Ronan Sulich, Senior Advisor Madeleine Norton BFA, BComm, MLitt, Decorative Arts and Fine Art Specialist Marcella Fox, Manager IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney FINE JEWELS & TIMEPIECES Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Hannah Sass, Jewellery Manager Indigo Keane, Assistant Isabella Macciolli, Administrator Henrietta Maiyah, Consultant MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department Paul Nicol, Modern Design Assistant LUXURY John D’Agata F.G.A.A., Head of Department Indigo Keane, Assistant PRINTS Hannah Ryan, Art Specialist

FURNITURE David Price, Manager Angus McGougan, Assistant Ari Walpole, Assistant JEWELLERY Hannah Sass, Jewellery Manager Indigo Keane, Assistant ART SALON Amanda North, Manager Tessa Pietsch, Assistant OBJECTS & COLLECTABLES Rebecca Stormont, Manager Natasha Berlizova, Assistant

— VALUATIONS David Parsons, Head of Department Troy McKenzie, Queensland Representative Specialist Anthony Hurl, South Australia Representative Specialist ACCOUNTS Yue Zhang, Finance Manager Michelle Draper, Account Manager Andrea Del Campo, Accountant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Lucy Lewis, Client Services Liaison Richard Grieve, Client Services Liaison OPERATIONS & LOGISTICS Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant MARKETING & COMMUNICATIONS Blanka Nemeth, Marketing Manager Keryn Gilchrist, Database Administrator PHOTOGRAPHY Adam Obradovic Paolo Cappelli GRAPHIC DESIGN Maria Rossi

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INSIDE BACK COVER (detail) 90 KENNETH SEARLE (born 1951) WEST Number 8 1990–91 oil on canvas 122 × 244cm $3,000 – 5,000

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